Location Scout + Location Manager R. Richard Hobbs
What We Do / About the Michigan Film Office
“The Michigan Film Office was created in 1979 to assist and attract incoming production companies and to promote the growth of our indigenous industry. We are part of the History, Arts and Libraries Department and funded by tax dollars.”
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Specific to California residents but likely useful to property owners nationwide:
California Film Commission: How to Market Your Property
“In an effort to assist property owners who wish to rent out their home or business to motion picture production companies, the California Film Commission (CFC) has prepared the following information to help you promote your property. These are some ideas to think about before you get started.”
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Virginia Film Office | Meet the Virginia Film Office
HOME | ABOUT VIRGINIA | MEET THE FILM OFFICE | CONTACT US | MAPS | WEATHER AND CLIMATE | FILMED IN VIRGINIA | FILM FESTIVALS AND SCREENINGS | VIRGINIA LINKS | PRODUCTION RESOURCES | LOCAL FILM OFFICES AND LIAISONS | PRODUCTION DIRECTORY | LOCATION LIBRARY | LOCATION LIBRARY | VIRGINIA AS DC | VIRTUAL TOURS | FOUR CENTURIES | FOR VIRGINIANS | FILM OFFICE INTERNSHIP | SCREENWRITING COMPETITION | BE AN EXTRA | BE A PRODUCTION ASSISTANT | FOR LOCATION OWNERS | BE IN PRODUCTION DIRECTORY | HOTLINE | INCENTIVES | NEWS & PUBLICATIONS | NEWS RELEASES | FINANCIAL REPORTS | PUBLICATIONS AND NEWSLETTERS | CONTACT US | LINKS
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“The midwest’s leading source for the creative community | Creative Directory Services provides an umbrella site for all aspects of the production community servicing the Midwest”
Category Headings of resources (visit Creative Directory for links):
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Pennsylvania Film Office | About the Pennsylvania Film Office
…”The Pennsylvania Film Office, as a part of the Pennsylvania Department of Community and Economic Development, is ready to meet your film’s every need. From securing permits to helping your scout find the perfect location, the Pennsylvania Film Office will be there — on the phone, face-to-face, behind the scenes — whenever you need us to get the job done. We’re committed to coordinating efforts statewide to make every project filmed in Pennsylvania a success.”
I have called on the PA Film Office many times for assistance finding locations for photo and video productions and have always been impressed and grateful for FilminPA’s knowledgeable, eager efforts to help - not to mention, Pennsylvania has GREAT locations!
Also of likely interest:
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About the New York State Governors Office of Motion Picture and Television Development:
“Our office is your liaison with city and local governments, state agencies, a network of statewide contacts, local film offices and professional location scouts. Call us and we’ll get you what you need or find the people who can help.” …read the rest…
The New York State film production market is one of the largest in the United States as well as world-wide and has a world-class film office located in New York City equipped and eager to service the needs of the production community while furthering economic development in the State of New York.
Being located in New Jersey, very close to New York City and the lower Hudson Valley of New York, I call on the NYS Film Office (as well as the NYC Mayor’s Office of Film, Theater and Broadcast (MOFTB) - the film liaison for New York City) frequently for assistance with location and production needs for film, video, photo and events productions; the NYS Film Office (as well as MOFTB) are always helpful and knowledgeable helping me solve any location or other production-related challenges as New York (state and / or city 
might avail themselves.
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“In Nevada, every production is important. More than 600 projects a year including feature films, television series and specials, commercials and other media receive attention from the Nevada film office, be it assistance with location breakdowns and scouting, defining and managing logistics, intergovernmental liaison, resource gathering, materials provision, problem solving and more.”
I was in Nevada in Nov / Dec of 2007 with Team Q-Spheres in the Las Vegas / Lake Mead area - here are some photos. Find out more about Q-spheres.
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“Welcome to the California Film Commission, your one-stop office for permitting, location assistance and filming resources throughout California. Our moderate weather with 315 sunny days per year and 840 miles of coastline, coupled with the greatest film crews and production facilities in the world makes California home to the entertainment industry.” …read the rest…
California is the largest film production region in the USA (New York State follows as #2!)
The California Film Commission website is a rich resource for producers, directors, location scouts and location managers - chk it out!
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Washington State Film Office | WSFO: About:
“…The Washington State Film Office, City of Seattle Mayor’s Office of Film and Music (Seattle Film Office) and 40 film liaisons statewide stand ready to assist you with your location needs…”
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“Filmmakers Guide is a free directory for production companies Actors, Actresses, Art Directors, Audio Technicians, Boom Operators, Camera Crew, Camera Operators- Cranes, Jibs, Camera Operators- Film, Camera Operators- High Definition…”
Areas of Interest (follow the links on the Filmmakers Guide website sidebar):
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As a producer or production coordinator, when asked to estimate production costs for a specific shoot, there are almost always some of the basic line items that have to be covered…
The following laundry list is presented with the caveat that, every production is uniquely different and can, in fact (and often does) change on the fly. The following should be used ONLY as a very basic jumping off point:
Basic Line Items to Consider:
1. Producer (you!;-)
a. PrePro Day(s) (research, crewing, coordination…)
b. Shoot Day(s)
c. Strike / Wrap/ Returns Day(s)
2. Location Scout
a. Research / File Pull Fees / Clearing / Permitting
b. Location Scouting - Photography / Organization / Presentation / Storage
c. Tech Scouting with Photographer / Client
d. Location Management - on set presence on shoot day
3. Casting Director
a. Research / Booking Day(s)
b. Casting Day(s)
4. Stylist(s) (Wardrobe / Set / Prop Stylist(s) as appropriate
a.Research / PrePro / Prep Day(s)
b. Shopping Day(s)
c. Shoot Day(s)
d. Wrap / Strike / Returns Day(s)
5. Hair and Makeup / Groomer
a. Shoot Day(s)
6. Digital Tech
a. Prep / Research / Rental Equipment Pickup / Returns Day(s)
b. Shoot Day(s)
7. Assistants
7a. First Assistant
a. Research / PrePro / Rental Equipment Pickup / Returns Day(s)
b. Shoot Day(s)
7b. 2nd Assistant
a. Research / PrePro / Rental Equipment Pickup / Returns Day(s)
b. Shoot Day(s)
7c. 3rd / 4th Assistant(s)
a. Shoot Day(s)
7d. Stylist Assistant(s)
a. Research / PrePro / Prep / Shopping Day(s) / Returns Day(s)
b. Shoot Day(s)
7e. Casting Assistant(s)
a. Research / Prep Day(s)
b. Casting Day(s)
1. Photo Location(s)
a. Prep / Wrap Day(s)
b. Shoot Day(s)
2. Casting Studio
a. Casting Day(s)
3. Stylist Prep Space
a. Prep Day(s)
4. Talent Holding / Equipment / Prop Staging Space(s)
a. Prep (Staging) Day(s)
b. Shoot Day(s)
1. Photo Equipment (often as coordinated btn and specified per photographer / digital tech / assistants)
a. Cameras
b. Computers / Accessory Hardware
c. Lighting / Grip
2. Stylist / Misc Rentals
a. Steamer(s) / Clothes Rack(s) / Hangers/ Iron/ Ironing Board/ Tools (some items may be part of kit?)
b. Folding Tables (as may be needed for equipment / props / wardrobe / catering / client workspace)
c. Folding Chairs (as may be used by idle crew / talent / client workspace)
d. Golf / Sun Umbrellas / Folding Canopies / Tent(s) (if outdoors)
1. Possibilities to be either/ or purchase(s) / rentals. Coordinate with Photographer/ Stylist / Client
1. Set Building is more often related to a studio shoot but probably worthy of mention / consideration here
2. Prop or Model / Miniature / Mock-Ups
1. Motorhome (if needed)
a. Shoot Day(s)
2. Equipment Truck(s) / Van(s) Rental
a. Prep / Pickup PrePro Day(s) (if equipment not delivered by vendor)
3. Crew Transportation (Cabs / Subways / Auto Rentals as might be used by crew - could be mileage paid if crew owns vehicle)
a. Photo Asst(s) Equipment Rental Pickup / Return
b. Stylist / Stylist Asst(s) Shopping / Prep / Returns
c. Location Scout
d. Casting Director (i.e. Street Casting)
e. Talent (especially if location is outside Manhattan)
4. Trucking and Deliveries / Pickups (if not done by crew as may be appropriate)
a. Product/ Merch (if not arranged by client)
b. Equipment (Cameras / Computers / Lighting / Grip)
b. Props / Wardrobe
c. Couriers (client / crew production hard copy correspondence as may be appropriate)
d. Catering Delivery / Pickup (often part of Catering Fee from caterer)
1. Shipping (i.e. hard drives / merch / props to / from client)
2. Gas / Tolls / Parking
3. Copies / Printing/ Misc Office Expenses (i.e sundry call sheets / production books / other office correspondence
4. Long Distance Phone Charges / Faxes
Delicious/rrhobbs/production
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Professor Tony Pemberton, from the Montclair State University Film School, Montclair, NJ recently contacted me requesting assistance placing his film students in intern positions during the coming summer months.
If you are a bona fide film production company or other relevant film or broadcast industry professional and there is room in your organization to help a film student gain some valuable industry experience please contact Professor Pemberton.
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From the New Jersey State Film Commission:
New Jersey currently offers these financial incentives to filmmakers, and the US Government has an incentive program as well:
20% TAX CREDIT PROGRAM
New Jersey offers a tax credit in an amount equal to 20% of qualified production expenses, available to production companies meeting certain criteria, chiefly:
(1) At least 60% of the total expenses of a project, exclusive of post-production costs, will be incurred for services performed and goods used or consumed in New Jersey
(2) Principal photography of a project commences within 150 days after the approval of the application for the credit
NEW JERSEY FILM TAX PROCESS GUIDELINES PRINTABLE APPLICATION FOR NEW JERSEY FILM TAX CREDIT (IN ADOBE PDF FORMAT) EXEMPTION FROM NEW JERSEY’S 6% SALES TAX
Certain tangible property used directly and primarily in the production of films and television programs is exempt from New Jersey’s 6% sales tax. This tangible property includes the purchase of replacement parts for machinery, tools and other supplies, the purchase of lumber and hardware to build sets, the rental of picture cars, the purchase or rental of other types of props, and costs related to the repair of camera and lighting equipment. To view the entire law, click here:
LAW GRANTING FILMMAKERS SPECIAL EXEMPTION FROM 6% STATE SALES TAX EXEMPT USE CERTIFICATE (FORM ST-4) AND INSTRUCTIONS THE NEW JERSEY FILM PRODUCTION ASSISTANCE PROGRAM
The Film Production Assistance Program allows film projects to be eligible for loan guarantees through the New Jersey Economic Development Authority. Guaranteeing a portion of loans made by other lenders encourages these lenders to finance projects they might not ordinarily finance on their own.
Loan guarantees cannot exceed 30% of the bank financing cost of the project, or $1.5 million, whichever is less.Until now, most film industry projects did not meet EDA eligibility requirements because the jobs they created were temporary. The new law expands the criteria for the EDA’s loan guarantee program so qualifying film production companies can participate.
The legislation sets important criteria for eligibility:
- At least one-half of material and production costs must be spent in New Jersey.
- At least 70% of shooting days must take place in the state.- Prevailing wage must be paid to workers employed in the project to be financed.
- The project must possess performance bonds.
Application forms are now available. For additional information, follow the links below:
LAW CREATING THE NEW JERSEY FILM PRODUCTION ASSISTANCE PROGRAM PRINTABLE APPLICATION FOR NEW JERSEY FILM PRODUCTION ASSISTANCE PROGRAM (IN ADOBE PDF FORMAT) WEBSITE FOR NEW JERSEY ECONOMIC DEVELOPMENT AUTHORITY NATIONAL TAX INCENTIVE PROGRAM
The American Jobs Creation Act, signed into law by President George W. Bush on October 22nd, 2004, offers tax breaks to film and television producers.
DETAILS ON AMERICAN JOBS CREATION ACT
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New York Times | Lights! Camera! Action! Location Fees! | By LISA PREVOST | Published: February 16, 2003
“LOCATION scouts in search of houses for use in television commercials often check in with Iris G. Stevens, director of the Westchester County Film Office. Ms. Stevens has a stack of photographs of 100-plus homes available as shooting sites.”
I call Iris at the Westchester County Film Office all the time for ideas and for guidance regarding filming in various towns and neighborhoods under her jurisdiction.
The Westchester County Film Office is a font of information and assistance for Westchester County; anyone that is a location scout, location manager or production coordinator that does not take advantage of Westchester Film’s service is ignoring an extremely valuable resource.
The article continues with a short interview with Katherine Oliver, Commissioner of the New York City Mayors Office of Film, Theater and Broadcast (MOFTB), Guy Ortoleva, Executive Director of the Connecticut Film, Video and Media Office and Betty Rankin, of Betty Rankin Locations as well as anecdotes from several fellow local location scout/managers, including Gary Handel, who also happens to own Gary’s Lofts, a well-known Brooklyn filming location. (btw, Gary apparently has done so well with his loft that he has expended into several other properties in Manhattan).
Even though the above mentioned newspaper article is several years old, there are a number of useful pieces of film location related info contained therein of potential interest to production personnel and local property owners alike. (Be sure and make note of the discussion regarding “the zone“)
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Not everybody knows about the Association of Film Commissioners International …or even what a film commission (or film office) is.
A film commission (or film office) is a bureau or office set up by (or perhaps in partnership wth) a local government by a group of interested parties to facilitate promoting their area for use by various visual arts industries, which could include film, video / television and photography, as well as many peripheral related industries which could involve theater, radio, music, professional talent (actors, models), hotels and hospitality- even the local dry cleaners! For the sake of brevity for the rest of this article lets just say “filmmaking” or “film industry“.
The obvious main reasons for attracting filmmaking are for local economic development and general promotion of the arts. Convential wisdom dictates that the more money changing hands with more hands (economy) the better off the community is and prevalence of the arts in any community makes that community generally more “livable“.
In addition to a being considered a relatively environmentally “clean” industry, filmmaking normally requires considerable local support from many other peripheral industries and businesses to function, as well being “people intensive”, thus creating local jobs and business opportunities.
There is simply no better way to showcase a community than for the world to to “see it in pictures“.
The best way for a local film office to promote filmmaking is to do everything it can to streamline the production process for filmmakers, so the more working knowledge a film office has of typical challenges productions face, the more effective the film office can be in making their area attractive to filmmakers.
There are a number of ways for film offices to help production; some of the more easily recognisable ways might be:
I hope all this gives you some idea of what business an article about film commissions has being on a location scouting website (this *is* a location scouting website, after all ;-).
More specifically, if you are a property owner, if you are interested in having your property used for filming, besides local location scouts, (more prevalent locally in larger metro areas) your local or state film office(s) can assist you in promoting your property to filmmakers.
For production folks, a local film office should be one of your first calls when researching or when you are in the early planning stages for a project. Local film offices are an all-too-often overlooked, generally free, resource.
Association of Film Commissioners International exists to provide communication and exchanges of ideas between film commissions worldwide and as such is a very good resource for finding and contacting same.
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Note: The following is a draft of “Securing A Great Location”, published in Moviemaker Magazine’s 2005 Beginner’s Guide To Making Movies
MovieMaker Magazine | Securing a Great Location | By © R. Richard Hobbs 2004
Chances are, before too much time goes by, you, as a film maker, will be forced to reckon with venturing out of the cozy, controllable confines of a studio/soundstage and into that great wild beyond known as a location.
If you are a director, your job, (among a plethora of other tasks, of course!), is to think of creative ways to bring a story to life visually.
If, like me, you are a part of the locations department (location scout and/or location manager), your job is to help the creative team toward this end, and while hopefully thinking equally as creatively and presenting actual real-world location possibilities, at the same time you are obligated to pay quite a bit more attention to the practicality, logistics and nuts and bolts of actually pulling the shot off at the location(s) you might suggest and following up on same.
Depending on your budget and/or method of working, even though your title may be Director, Assistant Director, Production Manager or even Executive Producer, you may be required to deal with some of the issues yourself that by rights are normally the Locations Department’s; in any case a little “cross-training ” and insight into what some of the other crew does cant be any less than a good thing!
All this said, my story will attempt to offer some useful information toward securing the perfect location from the locations department’s point of view.
As mentioned before, (the aesthetics aspects notwithstanding), there are a number of practical aspects to consider when choosing a location. What follows is by no means complete, but here are a few items in no special order:
Does the location you are considering work from all technical & logistical points of view? Some questions to ask yourself:
Where will I put all those trucks and people?
Is there room for (if not normally legal, then permitted) parking? It is imperative that you or someone from your crew scout the area adjacent to the set beforehand to make sure there is room and to be sure that room is not in front of a hydrant, fire department or bus stop, etc.
If parking is “tight “ (in high demand) you need to be sure that parking will in fact exist when your crew arrives! Having a permit to park there is one thing, actually “owning” the parking space(s) is another! (As we all know possession is 99% of the law;-)
In New York City (where I work) there are specialists called Parking Coordinators or Coneheads (for the orange cones they put out). Hire them.
You need to be sure you can meet the electrical requirements of your shoot. Be sure there is sufficient house power or you can get your genny truck close enough, and be sure you have sufficient electrical cable in any case!
Is there holding? (a comfortable place to “hold” people while they are not on set) If you are using SAG actors, a requirement is that they have a separate, private area for changing clothes. Be sure there is air conditioning or heat if the weather requires it!
Does the location work logistically?
Be careful with scheduling! If you are shooting a scene on one side of town in the morning and it takes an hour to drive to the second set, another hour to set up and then an hour of shooting, you are probably already into meal penalties. Try to find locations close to each other when scheduling scenes to be shot/ talent on call on the same day.
Is there room to work?
The most gorgeous room in the world is useless is there is not enough room to get the camera/dolly/lights/actors in there for the angles needed to make the shot.
What if it rains?
Do you have a “Plan B” in your pocket? Be careful with weather and cancellations of locations, talent and equipment. It can get expensive.
Is there light there?
Is there the correct lighting for the mood you are trying to achieve (or can you make it?) A location can look significantly different on a cloudy day from the day you scouted it and there was daylight streaming thru the branches casting patterns on the ground!
Are you absolutely sure you have permission to be there?
Does the owner understand that it won’t just be someone with a camcorder stopping by for a few moments? We become so used to our own world that it sometimes ceases to occur to us that people outside the film industry most often have (or have any reason to have an) inkling about what is actually involved in making a film. You need to be straightforward and accurate about all those trucks, equipment and people that will be showing up for 12-14 hours.
You should have also prepared in advance a synopsis of the story and the specific scene(s) you are shooting and explain this in detail to the owner. Sure, we love our story, but everybody has their own views and what seems perfectly normal to us may seem controversial or blatantly offensive to someone else (for no apparent reason to us) yet it is they that will have to live with being associated with the film. This is a very large, diverse, very politically correct world we live in today!
You should always use a property release form and get it signed by the location owner. A property release, in a nutshell, is written permission for you to depict a property to the public on film. Without it, you may leave yourself open to claims of invasion of privacy or other damages. Just do a Google for “property release”, there are standard forms around you can use.
You should always find out beforehand if there are any local or municipal permits or fees required where you are filming and comply fully with those requirements. A local film office, the city clerk or police department for a given municipality should be able to tell you what, if any filming permit requirements may exist.
Q: What could suck worse than finding out you don’t have time or money for a permit? A: Getting your production shut down in mid-shoot because you don’t have a permit.
There a few other general suggestions I might offer that may help you in your quest for the perfect location:
Never underestimate the power of a film office!
Local film offices are some of the most underutilized FREE resources available to film makers. A film commission can get you “in” places you could never touch on your own. They have the credibility of being associated with government plus can be an advocate for your project! They can be a godsend if you are filming outside your home turf- They most often have listings of local crew and location ideas for you. They know the local customs and any permit requirements that may exist! Be nice to film offices!
If you want to find out if there is a film office in your area try here first: www.afci.org
Leave time for permitting/getting permissions
I can’t begin to tell how many great locations have been aborted (or lost!) because there was insufficient time allowed to get permission or secure permits. This malady seems to especially afflict film makers just starting out for some reason (?).
Q: Hey, can you get me and my crane on a rooftop in NYC to shoot tonite?
A: Sorry, ain’t gonna happen, bubba.
If time is tight one option may be to use a location agency. These are people/companies (often scouts or location managers) that have an archive of existing pictures of locations that have often been previously used (or scouted and not used for one reason or another) Sometimes time can be saved this way, but don’t expect miracles- permissions must still be obtained and fees negotiated on your behalf.
Do you have insurance?
I personally won’t go on a shoot or book locations for a production without insurance. You should have a minimum $1,000,000 (standard now actually seems to be $2,000,000) commercial liability policy that allows for additional insurance of third parties. If you are using payroll and have employees then you should have workmen’s comp. Some locations require proof of this.
Use the right tool for the job!
You wouldn’t use a screwdriver to drive in a nail (or maybe you would ! Anyway, hire a location scout/manager! We are there for u!
Adios, good luck and p.s. please invite me to the Oscar Party!
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RICH’S QUICK GUIDE TO POSTING PICTURES TO A WEBSITE
also here: http://rrhobbs.com/postingyourpics.html
It’s good to know how to post pictures to a website- whether you are an artist or you have some other tangible object or property you need to illustrate. A lot of people go about this task using email, but there are a few reasons this IS NOT a always a good idea. Consider this: You have a dozen pictures (of anything) that you need to have someone see. Depending on the resolution of the pictures, you could spend HOURS emailing these pictures.
AND
1.) If you get ONE letter or number or other character in the recipient(s) email address wrong YOU GOTTA START OVER
2.) If your ISP limits the message size (my isp limits each email msg size to 2mb) and you go over YOU GOTTA START OVER
3.) If you need for someone (else) to see the pics later on then YOU HAVE TO SEND THEM AGAIN
4.)If you forgot to cc: someone YOU HAVE TO SEND THEM AGAIN
5.) If you left out a picture you have to figure out which one it was and email everybody again.
Doesn’t it make a lot of sense to only have to go thru these hassles once?
FIRST THINGS FIRST- WEB BASICS
A basic understanding of how the www works is needed. For instance, what happens when you look at a web page is that your computer (browser/client) sends a command over an electronic network (the web) to another computer(server) asking it to let you look at some files. (The computers have to understand each other but that’s a story for another day) The spot on the network AND on the other computer where the files are stored is known as a URL (Uniform Resource Locator). The spot that you are “calling” from is known as your IP address (Internet Protocol address). Provided everything goes well, you are sent the content that you requested and you will see a web page(text and/or pictures, etc.) That’s all the web is: FILES ON COMPUTERS! Proper software and hardware on your end makes VIEWING these files possible.
So the next question is: “How do I become the computer (server) on the “other end“?
Answer: Unless you are a REAL techie (in which case you would not need to be reading this) you have no business running a web server. BUT there ARE plenty of techies in this world, and there are many servers, AND there are many servers you can USE to display your info to the world. In most cases servers are Unix operating system computers with a direct, very fast connection to the web. Some are free to use, some you pay for.
Next question: “So how do I get my files to a server?”
Answer: Several ways, to start.
Since you are probably new to this you may want to try one of the many “free web space” services available. Several popular ones are: Geocities ( Geocities ), Tripod ( www.tripod.com ), I’m not going to go into detail about using these services, if you go their site(s) plenty of info is available. One way or another the files you wish to display are UPLOADED to the server (More about this later)
NOTE: The reason these services are free is because you almost always have to display some advertising on your web pages for them. Often you can pay a fee and forego this duty.
ANOTHER NOTE: You probably use an ISP (Internet Service Provider) to “get on the web”, like AOL, Earthlink, Concentric, RCN using a DIAL UP CONNECTION or maybe you have a DSL or ISDN or CABLE MODEM connection, or maybe you are affiliated with a learning institute or have a a job with a company that is “wired” and they provide you with access to the web. Anyway the point is, if you have an ISP that you pay for you often get web space to use as part of the service.
You can also get your own DOMAIN. This has a certain amount of appeal because you it’s YOUR domain, and its often easier for people to identify you, which can be a huge boon, especially if you are in business. (i.e. www.rrhobbs.com is MUCH easier to remember than www.tripod.com/rrhobbs or www.geocities.com/broadway/6247/ (these are real url’s however they have not been updated for some time) Getting your own domain involves checking availabilty of whatever domain name “dotcom, net, org” you have in mind, (i.e. rrhobbs.com), and registering the domain with the INTERNIC. The INTERNIC is: “US Department of Commerce regulated organization provides public information regarding Internet domain-name registration services.” See the INTERNIC site for all the details ( www.internic.net )
Once you have your own DOMAIN alas, you still need a HOST (a server to use). Often your present ISP offers WEB HOSTING SERVICES, and there are many companies who do nothing but web hosting. www.ispcheck.com is a good starting point for finding a web hosting service. Your web host can assist you in registering your domain, too.
GETTING YOUR FILES ONLINE- REALLY
If you get your own domain and web host, most likely the way you will be getting your files on the server is to FTP (FILE TRANSFER PROTOCOL) them to the server. Your webhost will most likely have plenty of details about this (the parameters,settings and password needed by your FTP PROGRAM (your webhost will probably have some suggestions, a couple I know of are WSFTP ( www.ipswitch.com ) and Cute FTP ( www.cuteftp.com ). There are Mac OS ftp programs (clients) at www.macosarchives.com .
A user friendly way to present your pictures is to use THUMBNAILS. A program I use is Thumbnailer . It will not only create thumbnails, it will automatically generate web pages, saving a LOT of time and headaches.
NOTE:Unfortunately, (at this writing) Thumbnailer is available for Windows only. I’ve heard that Extensis Portfolio is a good thumbnailer for Mac OS. I don’t know whether it will generate web pages on the fly or not tho. You can also make thumbnails in Photoshop.
This is not, nor is it intended to be, a be-all / end-all for web publishing. In that vein, please don’t email me with questions about any of this unless I specifically requested you do so. Use your ingenuity and search for more info about stuff you dont understand or would like to know more about on the web. There’s A BUNCH of stuff! Good luck!
Legal Mumbo-Jumbo: The reader uses information obtained via this document at his/her own risk. The author is in no way responsible for damges incurred in any way from use of any information contained in this document.
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# updated 6/7/2008 - some clean up / added map
“First Assistant Director Robert Rooy’s duties included scouting locations and determining what work was necessary to make the locations suitable for filming.
The following memo outlines Rooy’s recommendations for the scenes involving the Suggs gang and their attacks on cowboys and “sodbusters.”
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VIA Online: Movie Location Scout:
On the Road - Nancy Haecker location scout | Scouting Las Vegas | By Amy Graff | Published July 2001
“As a location scout in Las Vegas, Nancy Haecker has matched scripts with locales for films such as 3000 Miles to Graceland and America’s Sweethearts. Currently, she’s assisting director Steven Soderbergh (Traffic and Erin Brockovich) on a remake of the Rat Pack’s Ocean’s 11, with Brad Pitt and Julia Roberts, due out in winter.”
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