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You are here: Home / Government Contracting News / COs must verify WOSB/EDWOSB status independent of SAM info
COs must verify WOSB/EDWOSB status independent of SAM info
Ever since last year's launch of the System for Award Management (SAM) — the federal database that replaced Central Contractor Registration (CCR) — there have been a myriad of problems involving system stability, data entry by vendors, access by users, and data migration from CCR to SAM. Over time, some of these issues have been resolved. However, new problems have arisen, and the latest one that has come to our attention could effect the eligibility of women owned businesses for federal contract set-asides.
The Contracting Education Academy at Georgia Tech has learned that SAM may not correctly display a company's Women-Owned Small Business (WOSB) or Economically Disadvantaged Small Business (EDWOSB) designation. This means some small businesses that are legitimate WOSB/EDWOSB concerns are unable to visibly display their status in SAM at this time. Reports indicate that the Small Business Administration (SBA) has called this latest challenge to the attention of the General Services Administration (GSA), SAM's administrator.
While this problem is resolved, Contracting Officers are reminded that the identification of a woman-owned small business in SAM is not the authentication source required by regulations at 13 CFR 127.300(c).
The Code of Federal Regulations at 13 CFR 127.301(2) indicate that a Contracting Officer may accept a concern's (bidder or proponent) representation as a WOSB or EDWOSB if the apparent successful offeror provides the appropriate documentation, as described in §127.300(e) at the time of initial offer.
Here are three ways a Contracting Officer can verify a WOSB/EDWOSB concern's legitimacy:
If an WOSB/EDWOSB concern has a valid certificate from one of SBA's four approved third party certifiers (i.e., El Paso Hispanic Chamber of Commerce, National Women Business Owners Corporation, U.S. Women's Chamber of Commerce, and Women's Business Enterprise National Council), the concern can submit the certificate along with a signed copy of SBA form 2413 Woman-Owned Small Business (WOSB) or SBA form 2414 (EDWOSB) form to the Contracting Officer to validate the concern's eligibility status. Furthermore, the WOSB/EDWOSB concern must have the same documentation uploaded into SBA's WOSB Repository at the time of initial offer. (Under no circumstances are certifications to be accepted from parties other than the four organizations approved by the SBA; in other words, state certifications or any other forms of certification are not to be considered or accepted.)
The WOSB/EDWOSB concern may submit a hard copy (signed) of all the required documents mandated by in the Code of Federal Regulations 13 CFR 127.300(e) and a signed copy of SBA WOSB form 2413 or to the EDWOSB form 2414, for verification of WOSB/EDWOSB status. These records are to be maintained for six years in the contract file.
If the WOSB/EDWOSB concern is also an SBA-certified 8(a) concern, the concern may submit a copy of the SBA 8(a) BD Participant certificate and the signed SBA WOSB form 2413 or to the EDWOSB form 2414.
In all instances, Contracting Officers are required to verify a concern's status in SBA's WOSB Program Repository. It is the obligation of the WOSB or EDWOSB to provide current, accurate and complete documents to the Contracting Officer for each contract award, via the Repository.
Ultimately, it is the responsibility of the Contracting Officer to verify WOSB/EDWOSB status. If the Contracting Officer has information that calls into question the eligibility of a concern as an WOSB/EDWOSB, or the concern fails to provide all of the required documents to verify its eligibility, the Contracting Officer is to not award a WOSB/EDWOSB contract to that business concern.
In summary, regardless of how a business concern is listed in SAM, Contracting Officers should affirm the status of WOSB and EDWOSB concerns by checking their documentation online in the WOSB Program Repository per 13 CFR 127.300(c). Apparent awardees can only provide access to those Contracting Officers who are registered for the WOSB Program Repository. Contracting Officers should go to: https://eweb.sba.gov/gls/dsp_login.cfm and click on "Request SBA User ID" to establish an account.
To access a copy of the Contracting Education Academy's presentation on various issues involving the System for Award Management (SAM), including helpful tips and work-arounds for both the vendor and acquisition communities, please click here.
For the latest news involving SAM, please visit: http://contractingacademy.gatech.edu/tag/sam
Filed Under: Government Contracting News Tagged With: certification, EDWOSB, SAM, SBA, System for Award Management, woman owned business, WOSB


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Абдель Аль Ахмед Рашид (; ) — египетский борец греко-римского стиля, бронзовый призёр Олимпийских игр.

Биография

На Летних Олимпийских играх 1952 года в Хельсинки боролся в полулёгком весе (до 62 килограммов). По регламенту турнира борец получал в схватках штрафные баллы. Набравший 5 штрафных баллов спортсмен выбывал из турнира. Титул оспаривали 17 борцов.

Египетский борец сумел попасть в финал с 5 штрафными баллами, поскольку остальные борцы, за исключением ещё двух финалистов, имели в пассиве больше штрафных баллов, чем Абдель Аль Рашид. В финале чисто проиграл советскому борцу Якову Пункину, а поскольку ещё в четвёртом круге египтянин проиграл и второму финалисту Имре Пойяку, занял третье место с бронзовой медалью Олимпиады. Эта медаль стала единственной для Египта на этих Олимпийских играх.

Примечания

Ссылки

Борцы Египта
Бронзовые призёры летних Олимпийских игр 1952 года
Борцы на летних Олимпийских играх 1952 года
Борцы полулёгкого веса

redpajama_set_name: RedPajamaWikipedia


M y grudge with social media is that it is virtually impossible to find posts after a few weeks. I saw this effect on twitter in some real time engine. Unity or Unreal. I'd love to give credit to whoever cooked it up, but I'm unable to find that !"§$%& post again. So if you know who/what I'm talking about => comments plz!


what cake do i like?
Do you have discount to offer?
100% before the day of wedding. It is negotiable.
At the latest one month before the day.
We have decorated in Malaysia 2 times and other most luxurious venue in Indonesia.
Our decoration is arrangeable it will suit to your need and ideas.


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Guy Angers His Ex-Girlfriend After Telling Her Teenage Daughter Who He 'Abandoned' That He's Not Actually Her Dad
Gabrielle Coles
RapidEye/Getty Images
There's something about the holiday season that brings out family drama.
A few days after Christmas, Redditor Throwawayveeplalw wrote a post asking for feedback on how he responded to accusations from his ex-girlfriend's daughter.
He received an unexpected Facebook message from the 13-year-old daughter of an ex-girlfriend. Apparently, the girl's mom told her the man was her biological father and he abandoned her when she was a child.
However, there was way more to the story.
The man posted his story on the "Am I The A**hole" subReddit, where people ask other users if they handled personal situations appropriately.
He gave some background information about why the relationship between him and the ex-girlfriend fell apart.
"10 years ago I (33M) walked out on my ex girlfriend (33F) and her daughter (now 13F). Why? Because it turned out that 'my' daughter wasn't actually mine. My ex had cheated."
"I confronted her and she broke down. I walked out. It was messy because of the amount I also spent on lawyers."
He was blindsided by an angry message he received from his ex's teenage daughter on Facebook.
"I have been no contact since. That is until now, I got a fFacebook message from her daughter which was very abrasive."
"She was accusing me of abandoning her and what kind of father does that. It seems that my ex didn't have the guts to admit her infidelity?"
While her mother had apparently failed to share the full story of why the man left, he didn't hesitate to tell her the truth.
"I told her daughter that I'm not her father and that her mother cheated. She didn't take it well but I provided evidence."
"She actually had the maturity to apologize."
The teen daughter apologized for the angry message, but her mother was not so forgiving.
"Now my ex got a hold of my Facebook and has been blowing up my messenger calling me AH and all sorts."
"Even my sister (35F) said I shouldn't have told."
"[Am I the a$$hole?] AITA?"
People felt empathy for the man and the girl.
It must have been heartbreaking for the man to learn that his "daughter" wasn't really his, and a tough decision to leave a child that he helped raise for three years.
User mynameisegg wrote:
"I bet it was pretty heartbreaking for OP to find out that the 3 year old he thought was his, wasn't. He would have no legal rights over this kid, nor did he want to be with her mother anymore."
"It would be awkward and perhaps even impossible (depending on the amicability of the split) to try to continue a relationship with this child. As a three year old, she would have been too young to have any of this explained to her."
"The knee-jerk reaction you're having is 'how can you leave this child you've loved as your own for three years?' Real life is not that simple; It's a complex situation."
whyamilikethis1089 thought about it from both angles:
"There is no 'right' answer here, they both got screwed. Recognizing that this was devastating and horrible to both is ok."
"No one is saying that he should have stayed, just that him staying would have been the best for the kid, but he also can't be blamed for not staying."
"Basically his decision not to stay and the effect on kid is still the cheaters fault."
Kapalaka said the decision was best for the long term:
"NTA. Alleged-daughter now knows the truth, and unfortunately it hurts. The whole situation is a lose-lose, but at least with this outcome you cleared your name and gave the girl some closure with regard to you."
"All these years she has had the false narrative that she was 'abandoned' from her mother, but now she knows the person that nurtured her left because of something awful her mother did."
"The mother should not have lied and started a ripple effect of pain for everyone. What's worse, she did it to cover her shame; not out of emotional consideration for the daughter."
"It's an awful situation but OP has to take care of his own well-being, too. Setting yourself on fire to keep someone else warm is never good long-term."
Overall, people thought he was right to tell her he wasn't her biological father.
YorkshirePug commented:
"The child has the right to know, and the wife is a coward for not admitting her infidelity and accusing OP of being a deadbeat, when he is innocent in all this."
brownbird8888 said the truth was important:
"NTA. You set the record straight with everybody. Your ex's daughter deserves to know the truth."
Someone posting under the screen name BigSexii related to the story:
"NTA - this hit close to home. My 'dad' left when I was 4 and resented him for years. One day my mom accidentally let it slip that he lived in town again so I (16 at the time) paid him a visit."
"It turned out my real father had been in prison, and he only tried to help my mom out all those years. I immediately stopped resenting him."
"You did the right thing in telling her, because it's obvious her mom wasn't going to."
Several users pointed out that the root of the drama was the mother's lies.
Thrwforksandknives pointed out:
"NTA. Your ex was caught in a lie and can't handle the fall out."
User electronm wrote:
"Totally NTA! Not only she lied to you for a long time, she lied to her own daughter for even longer time. And it's a very big and ugly lie."
"She's basically blaming you for telling her daughter what she needed to tell her a long time ago and take responsibility for her actions."
Many questioned the ex-girlfriend's motives and reasons for lying to her daughter about who her dad was.
LiquorBox12 commented:
"Did the mother never think that the daughter would reach out? The mother clearly played this off like she did nothing wrong and her 'dad' just up and left one day."
"How horrible is that? Making your child think that their father abandoned them, when in reality, they were the one who cheated, and couldn't muster up the courage to be honest."
"I feel so badly for that 13 year old girl. Finding our your mother has lied to you your whole life. Awful."
981206 felt that the mom used him as a scapegoat:
"Mom wanted to play victim so her daughter wouldn't be mad at her, and you were the easy target because she hadn't spoken to you in a decade."
"It was the right thing to tell her, and the only reason they disagree is because they now have to deal with the fallout of an angry 13yo who was lied to about OP just leaving her for her whole life."
It's undoubtably an all around sad situation.
While the truth does hurt, it was still very important for the daughter to know the man she thought was her father did not, in fact, abandon her for no reason. If knowing the identity of her biological father is important to her, then we hope her mother will be able to tell her accurate information to follow on.

redpajama_set_name: RedPajamaCommonCrawl


text:
What They Told Us: Reviewing Last Week's Key Polls - Week Ending September 26, 2015
40% Say U.S. Heading in Right Direction
Pope Francis' visit this week to the United States is likely to have put religion on the minds of many more Americans.
Most Americans have a favorable opinion of the new pope and think he's good for the Catholic Church. It's clear, too, that most see an essential place for religion in this country, but there's been a sizable jump in the number who don't think the government agrees.
Still, while voters have mixed feelings about the impact religious leaders have on government policy, they are quite clear that they don't want someone in the pulpit telling them how to vote.
Speaking of voting, religion will be front and center this weekend as the Republican presidential candidates make their cases before the conservative Family Research Council's Values Voter Summit in Washington, D.C.
Voters in the past have been narrowly divided on the importance of a political candidate's religious faith, but over half of voters – and 73% of Republicans - agree with GOP presidential hopeful Ben Carson who says he could not vote for a Muslim to be president.
So if most voters agree, why did the media make such a big deal about Carson's remarks? Perhaps because, as 71% believe, when covering a political campaign, most reporters try to help the candidate they want to win.
Following the second Republican presidential candidate debate earlier this month, 59% said Carson is likely to be the GOP candidate next year. Forty-one percent (41%) said the same of former Hewlett-Packard CEO Carly Fiorina, and 40% felt that way about Jeb Bush.
Wisconsin Governor Scott Walker this week suspended his campaign for the Republican presidential nomination. Walker started his campaign with high expectations but was quickly buried like many of the other GOP candidates in the Donald Trump phenomenon.
"The Donald" continues his downward slide, though, with this week's Trump Change survey at its lowest level (52%) since we started the regular feature in mid-August.
It's been a rough few months for Hillary Clinton's presidential campaign, but her chances for the Democratic nomination hold steady in Rasmussen Reports' latest Hillary Meter.
Right now 59% of all voters – and 37% of Democrats – think it's likely Clinton broke the law by sending and receiving e-mails containing classified information through a private e-mail server while serving as secretary of State.
Clinton in a rare interview this past week announced that she is opposed to building the Keystone XL pipeline. Most voters have favored building the oil pipeline from western Canada to Texas in surveys for the past four years.
The former first lady also said again that the president's immigration agenda including protecting up to five million illegal immigrants from deportation doesn't go far enough. Although Clinton's views on illegal immigration are outside the mainstream as far as most voters are concerned, the media predictably didn't make much of them.
Few voters agree either with the Obama administration's plan to increase the total number of worldwide refugees accepted into the United States to 100,000 by 2017 in response to the ongoing migrant crisis in Europe.
But the governments in Europe and the United States apparently don't care what voters think when it comes to taking in thousands of Islamic refugees from the Middle East.
Increased media attention on the Syrian migrant crisis has raised new concerns about the global impact of that country's ongoing civil war, but does that mean the United States should take a more active role in stemming the violence in Syria?
After hosting the pope, Obama welcomed the president of China to the White House. Should America finally get tough with China?
The two presidents reportedly will discuss some of the big differences between the United States and China. But most U.S. voters think America overlooks many abuses by the Chinese government because of that country's economic power.
The president's daily job approval rating continues to hover in the negative mid-teens.
In other surveys last week:
-- Just 25% now think the United States is headed in the right direction. That's the lowest level of confidence since mid-December.
-- Most voters still don't think the federal government should have the final say on gun ownership and don't like a country in which only the government has access to guns.
-- While states continue to crack down on tobacco, several are going in the opposite direction when it comes to marijuana, legalizing its sale and possession. What's the difference between pot and tobacco?
-- Volkswagen has confessed to equipping millions of diesel cars with software intended to fool emissions tests, but so far the German auto company is still more popular than General Motors and Chrysler who took taxpayer-funded bailouts to stay in business.
Subscribers to Rasmussen Reports receive exclusive stories each week for less than a dollar a week. Please sign up now. Visit the Rasmussen Reports home page for the latest current polling coverage of events in the news. The page is updated several times each day.
Remember, if it's in the news, it's in our polls.


text:
ScienceAGoGo Interesting Science News and Discussion
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Vintage Raphael Kirchner Geisha Signed Postcard Japanese Girl Fishing New For Sale
This item has been shown 22 times.
Vintage Raphael Kirchner Geisha Signed Postcard Japanese Girl Fishing New:
This is a vintage postcard featuring a Japanese girl fishing from a dock. To the left it says Geisha in red on an orange background. The picture is signed by the artist Raphael Kirchner.
This postcard is new and has not been written on. There are no creases, tears, or bent corners.
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Nicecream ice cream is always based on bananas and/or coconut and here you can always be sure to get high quality food made with organic, fairtrade ingredients – no artificial flavouring, colouring or additives. You can visit Nicecream both on by Skt. Hans Torv, where they only serve ice cream and popsicles and on by Enghave Plads where they besides ice cream also serve bowls and lattes (and we understand they will also launch some warm food items for the winter).
The place, which is located in inner , is a light and modern space combined with elegant and consciously chosen elements: bamboo tables, raw clay porcelain and exotic plants and flowers which create a very cozy atmosphere. Once you have made your decision from the menu – which is quite hard by the way, as you probably want to taste everything at once – the food will be presented to you in such a beautifully decorated way that you probably will have to snap a picture before diving into it. And besides the visual aesthetics of the food, which is a reason in itself to visit, the food is also mind-blowingly delicious, very nutritious and healthy.
California Kitchen is located on both by the inner lakes and on . You can pick and choose a bowl from the menu or mix your own with the always fresh and tasty ingredients. The atmosphere here is cozy with bright bohemian interior and in the summer time you can also choose to sit outside or to take your bowl with you to enjoy it besides the lakes or a nice park.
They in addition have a food truck at which is situated across the bridge by Nyhavn.
Located nearby the cozy Skt. Hans square on you will find the best vegan cakes in town.
This is not just your average falafel place, but a real gourmet experience triggering all your taste and visual senses. Falafel Factory, located on near the Assistens Cemetery, offers pita sandwiches, platters and salads. We always choose the falafel sandwich which is huge and definitely fills your stomach and leaves you very satisfied after finishing it (if you can).
Hot dogs are a Danish signature food. So much so, that the first thing you will smell when landing at the CPH Airport is sausages from the hot dog carts! As a plant eater, you do not want to buy your dog at the airport though, as they unfortunately only sell the pork version. But do not worry – if you head towards the heart of Nørrebro you will find PLANTEPØLSEN on the vibrant . They started earlier this year as a kickstarter project and today seem to thrive and receive great support from the local community.
Located just next to the busy shopping street Købmagergade, the lively square Kultorvet and the very accessible Nørreport station, where all public transport – trains, metros and busses – stop, you find the cozy vegan cafe Yellow Rose on .
MATCHABAR is located in on a quiet side street to Istedgade. The interior is very cozy and trendy, creating a lovely atmosphere that makes you want to stay there forever. So grab your laptop or good book, and spend your afternoon relaxing here in true matcha heaven.
So when MADE N ITALY opened its doors in the heart of Copenhagen on in Nyhavn, we were amongst the first standing in queue to get to taste their menu. And boy we enjoyed every single bite of the spaghetti and slice of pizza we were served that day. Bellissimo!
There are not many places in Copenhagen (at least yet) where you can eat a finer, gourmet-like vegan 3 course-menu, other than URTEN. But that is also fine, as you definitely get value for your money here. URTEN, which is located in the very heart of Copenhagen in the corner of the cozy small streets of Studiestræde and , offers you a menu that varies per season. If you decide to have the 3-course-menu (which is very affordable, by the way) you can always choose between two or three different entres, main dishes and desserts.
When Jenny first found this little and cozy vietnamese restaurant, on a small sidestreet called , which is a sidestreet to the main shopping street, Strøget, she ended up eating there 3 days in a row …(!) and that says a lot about the food.
A really cute little bohemian cafe located on nearby the always busy Christianshavn metro station and Christiania which serves the tastiest, organic smoothie bowls and wraps. As soon as you walk in the door you feel like being transported from the hectic city to a lovely beach on a tropical island.
Situated in the bustling adjacent to Nørreport station Banana CPH has taken the soft serve market with storm. Starting out as an idea on Hawaii the people behind Banana CPH have now stepped up on the big food scene in Copenhagen with a recipe taking outset in fresh fruits and all natural and sugar-free ingredients showing that you can make amazing soft serve without using dairy and sugar!
Det Rene Brød (meaning The Clean Bread) has bakeries on across Copenhagen, so there will always be one near you when your bread and/or pastry craving sets in. They have a variety of white/black breads, buns and a lot of pastries/danish which are vegan. Most will have a sign stating so, but you can always ask the person behind the counter as well to make sure. They are always friendly and helpful.
Situated in two locations, in inner Nørrebro on and close to the harbour pools at Islandsbrygge on , MAUI currently only have two vegan options on their menu and having tasted them both we choose to recommend the one called "number 8" with either quinoa or kale as base.
If you are like us and believe sushi is a great concept, but struggle to find a good sushi restaurant which can dish up a plant-based version, then seek no further. Sticks'n'Sushi has a chain of restaurants across (and outside the city too including the UK and Japan).


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Q: Scheme Racket Calculate Max Element in List Infinite Loop I'm writing my very first program in Scheme and after fighting off a bunch of syntax issues, I hit an infinite loop. I'm simply trying to retrieve the biggest number in a list and print it to the console. Here's what I have so far:
(define (max-num lst)
  (cond [(= 0 (length lst)) (displayln "Your list is empty!")]
    [(= 1 (length lst)) (displayln (car lst))]
      ;start comparing recursively
    [>= (car lst) cdr(car lst) (max-num (list (car lst) (car(cdr lst))))]
          (else (max-num(cdr lst))))
    )
          )
(max-num '(1 2 3 4 5))
(max-num '(-5 -3 -2 -13))

A: A very useful tool to debug programs is the Program Stepper.
The stepper will show you how the program is evaluated one step at a time.
The stepper only works for programs written in the teaching languages, so I have changed your program a little (I haven't changed the logic).
In DrRacket open a new file. Paste the program below (including the examples at the end). Choose the "Choose language..." item in the "Language" menu. Then choose the "Beginner" language.
Finally click the "Step" button (next to the icon with a checkmark+looking glass).
(define (max-num lst)
  (cond
    [(= 0 (length lst))              "Your list is empty!"]
    [(= 1 (length lst))              (car lst)]
    [(>= (car lst) (cdr (car lst)))  (max-num (list (car lst) (car(cdr lst))))]
    [else                            (max-num(cdr lst))]))

(max-num (list 1 2 3 4 5))
(max-num (list -5 -3 -2 -13))

Click your way through the evaluation until you spot the error.

A: >= (car lst) cdr(car lst) should be in parentheses like [(>= (car lst) cdr(car lst)) (max-num (list (car lst) (car(cdr lst))))]

redpajama_set_name: RedPajamaStackExchange


text:
On-Set Etiquette
Monday 29 January 2018 /0 Comments/in Getting Started in the Industry /by Juan Cruz-Hernandez
You have been scouring the Internet in search of opportunities for a first job in the film or TV industry. You have been applying for many of them and finally, it happened. You got that email, the job is yours.
Landing your first on-set job in film or TV is a very exciting time. However, how to behave, what to do, what to say and even what to wear might be some of the questions going through your mind. Hopefully this article will point you in the right direction and put you at ease so you can go off to a wonderful first day.
Chances are your first job will be that of a runner-like role, be it camera, floor or otherwise. If for some reason this is not your case, I'd like to encourage you to read on as you might still find the rest of the article very useful. There are things stated below that might sound very obvious, however they don't always come across as such.
General behaviour
Being as helpful as possible is a no-brainer, but you should also be aware that sometimes too much assistance can be considered interfering. Sometimes we want to be so helpful that we get in the way of other people, which is evidently not well-regarded. Along the same lines, you should only speak when you are spoken to. Don't try to look or sound smart by demonstrating your skills and just focus on completing the tasks you are given. One thing to keep in mind is that a production always runs against the clock so everyone is always very busy doing their part and no one has time to waste.
Be proactive about offering help if you don't have anything to do at a given time and never do something you haven't been asked to do or touch anything you haven't been asked to touch. Conversely, always ask about things if there's something you don't understand or if you are not sure about how to do something. It is much better to ask again and get it right than not asking and getting it wrong. If you do make a mistake anyway, apologise, try to find a solution for it and move on.
It's also very important to always be jolly, polite, respectful and never complain. Shooting days can be very long (sometimes even 12 or 16 hours) and occur during the so-called "unsociable" hours. Therefore, you will normally spend a very long time working with the same people. This can be great if people get along but also uncomfortable if you have to put up with someone unpleasant for so long. For this reason, many would go so far as to say that they'd rather work with someone nice that doesn't know as much than someone who is a tech wizard but not likeable.
The same goes for complaining. You will get tired and possibly hungry and thirsty. In any case, keep it to yourself and never complain. No one likes a whiner.
Nevertheless, don't think that you have to do everything you are asked to without question. For instance, if you are told to go buy lunch with your own money and they will reimburse you later, it's okay for you to politely decline if you don't feel comfortable doing it. There might be reasons why the company hasn't sorted out some of the meals, however it is not included in the runners' duties to financially take charge of this.
Also, don't attempt to lift anything that looks too heavy for you just because you have been told to do so. It's perfectly fine for you to state that a determined load is too heavy for you and ask for help.
In the same way, it's okay to admit you don't know something if you're asked for technical advice or told to do something beyond your knowledge or that you have never done before. The important thing here is to not try to "save the day", especially if you are going to go about something by guessing. Again, don't be afraid to ask for help.
Along these lines, never overestimate your skills by suggesting that you are able to do something beyond your duties. For example, if you are a camera runner, don't walk up to a camera assistant and ask if you can pull focus on the next take. Anything like this would be considered very rude, even if you can pull focus.
Productions are organised in a very hierarchical way. Always be respectful of everyone but especially more so the heads of department and talent. Try not to be nervous around talent, they are normal people too and are pretty much in the same boat. If you know who someone is without having met them before, don't talk to them unless you have to or if they approach you.
What to wear and carry
The dress code may vary from production to production, but it will be usually indicated on the call sheet if there is one. Take the weather into account, especially if you are going to be working outdoors. Since weather can be unpredictable (particularly in the UK) it's a safe bet to wear a waterproof jacket and shoes. The latter should be as comfortable as possible, so a pair of nondescript trainers would probably be a good call. Also think in terms of temperature, you don't want to spend the whole day shivering or sweating.
In regards to the rest of your attire, a normal pair of jeans or trousers and a basic t-shirt should do the trick. Tracksuits can be a grey area, but it would be safe to say that most of the times they will be considered as "too casual/comfortable". Just make sure that the clothes you've chosen are not noisy when you move.
In terms of colours, you can never really go wrong with dark clothes –except for maybe those occasional hot days in the summer. However, don't wear light or bright clothes as these cause reflections on the actors, scene, or sometimes in windows. The plainer, the better, and it is best to avoid wearing big logos. This can cause some trouble depending on the nature of the production, so best to make sure this is alright or avoid it altogether.
A torchlight can be very useful – the one on your phone should be alright but remember to silence it! – and if you want to be extra helpful always carry a couple of Sharpies and pens, even some blank paper sheets and some gaffer tape.
You have to be aware that "runner" is the lowest of the roles in a production. This isn't anything bad, it's just a matter of hierarchy. Don't be offended if someone explains something to you that you already know, just listen and learn. Practice makes perfect, so hearing about something one more time can never be a bad thing.
As a runner you won't be (shouldn't be) treated any differently. However, you might find yourself having to carry out what might seem like menial tasks, such as breakfast/lunch runs, making tea and coffee, fetching objects or water and conveying messages. Again, this is not a bad thing. There is always something to learn from everything and completing allegedly easy and boring tasks in a timely manner with efficiency and a good disposition will eventually get you noticed as a hard-working, reliable and pleasant individual, which can earn you good references that will lead to roles with more responsibility in the future.
Another excellent skill to have on set is the ability to remain calm when something goes wrong –it will happen, more than you would think. In these situations, people get nervous and stressed and therefore you can expect to be yelled at as a result of high stress. If this happens don't take it to heart, just carry on with your tasks and be as helpful as possible. However, if by any chance you had a truly unpleasant encounter with anyone that shouldn't be ignored, leave it for the end of the day and make sure to report it to the head of department.
In terms of food, it depends on the arrangements that have been done for the day. You can expect at least one catered meal and complimentary water throughout the day.
In terms of working time, as I stated before you should expect to work long hours and to have some breaks during the course of the day. How many will depend on the intensity of the work and the schedule.
Last but definitely not least, you should always get paid for your work, unless it's clearly stated beforehand that the role is not paid but you still decide to do it. Unpaid jobs however, are luckily becoming more of a rarity. In any case, always go on a job having clarified compensation matters beforehand.
Here is a list of some additional do's and don'ts that can help you on set:
Be polite, respectful, pleasant and helpful.
Never sit down unless you are on a break. In this case, make sure to stay away from the set and any busy areas.
Don't carry copies of your latest script/film to show people, especially not to heads of department or the director, producer, etc.
Don't ask for anyone to let you do anything beyond your duties/capabilities.
Never brag about your past work and preferably don't mention it unless you are specifically asked about it.
Always keep receipts if you buy anything, whether it's for yourself, the production or someone else.
Never give your opinion about the work that is being done unless you are asked to. If this is the case, always start with something like: "I'm not sure, what do you think?"
Use your common sense.
https://www.societyinmotion.com/wp-content/uploads/2018/01/iStock-518599300.jpg 3744 5616 Juan Cruz-Hernandez https://www.societyinmotion.com/wp-content/uploads/2016/09/IMIS_Logo_Colour_Cropped-300x125.png Juan Cruz-Hernandez2018-01-29 09:30:322018-01-28 23:41:24On-Set Etiquette
The Festival Run
Wednesday 27 December 2017 /0 Comments/in Distribution, Film Festivals /by Juan Cruz-Hernandez
Finishing a film is always a great accomplishment. It is very rewarding to see an idea come to fruition through the coordinated effort of people working in team to achieve the representation of that idea. However, the last step to make that effort complete is to show the results of the hard work. And as if making the film wasn't hard enough, showing it is likely almost as difficult, if not tougher. It is all very nice showing it to family and friends, but that won't exactly yield any sort of professional recognition or prospects of career progression.
So, who should I show my film to and how? – you might be wondering. The answer is "festivals".
What are film festivals?
Film festivals are events that provide the opportunity to showcase new talent and productions in the film industry. They are also great places to do business, network, stay head about new developments and even learn new things through Q&A sessions and workshops.
Simply put, a festival can be thought about as a film market. Filmmakers submit their films looking to catch the eye of people working in the industry. Executives, producers, directors, actors, distributors, press, critics, agents and many others attend to look for new productions, new deals in terms of rights, ideas or distribution agreements, opportunities to collaborate and uncover new talent.
Generally, it is possible to also attend festivals even if you don't work in the industry or if your submission hasn't been selected. You can buy tickets for most of them, however the more popular and prestigious, the more expensive and difficult it would be to get a pass. This can be nonetheless worth doing for big festivals, since these are a very interesting window to peak through to see how films are actually bought and sold. It is also a great experience and you never know who you can end up meeting.
Reasons to enter them
The main reason for filmmakers to enter festivals is therefore to get exposure. No one is going to come looking for you or your film, especially if they don't even know you exist and make films. This is tied-in with trying to win awards, another reason to enter festivals. These are the main places to do so –even cash prizes- and this normally translates into recognition and press attention. Depending on the prestige and popularity of the festival, there can be high career development prospects – like getting on the radar for big productions or projects, or maybe having new opportunities for higher funding. Awards also look great on any personal filmography, and you might want to consider listing them on your CV since this could provide you with a boost that takes you to the next level.
Even if you don't win any awards, most would consider getting accepted into any category of any respected festival, a great success. You can still get recognition and press attention just for being selected – and there could be as many prospects if your film appeals to the audience even though not so much to the jury.
The process for the festival run starts by planning it right at the pre-production stage. In my previous article "Starting Pre-Production" I mentioned providing an allocation for festivals when preparing the film's budget. This budget would be for submission fees, as most festivals are not free to enter, and in most cases, for preparing a submission package.
In order to get an accurate figure about how much to spend in festival submissions, it is necessary to carry out research that determines which festivals you are going to submit your film to. Knowing exactly this will save you a lot of time, money, effort and disappointment in comparison to just winging it.
Bear in mind the time that it will take to complete your film, not to overlay it with any deadlines. If you are thinking of submitting a film that is already finished, you don't need to worry about this –however, you will need to check festival's guidelines to see that your film is not too old to be submitted. Normally festivals have several deadlines: early bird, regular, late and sometimes extended. It might be an understatement, but the later you submit, the more expensive the fees will be, therefore you would want to aim for the early bird deadline especially if you are concerned about saving some money.
The next thing to do, as I mentioned above, is create a package to present your film when submitting – a requirement in many festivals. This would normally include a synopsis that talks about the film and its meaning, as well as a Director's statement (you can check out this article on how to write one: The Director's Statement: What to Write). You would also need to talk about the team, their aspirations and motives and what they have done so far previous to your film, especially about key roles such as Director, Writer, Producer or DOP and the main cast. You would also want to consider spending some of the budget for this package in still photographs both from the film and production, a poster of the film (or a few) and even some marketing and promotion efforts and distribution plans.
The last thing is applying and forgetting about it. This is where blunt honesty comes into play: it is very difficult to win at festivals, but not impossible. It might sound very bleak, but the safest –and healthiest- tactic to follow is not to expect to win or to even be considered. However, if it does happen, the reward is immense.
It may seem like a lot of effort for nothing in most cases, but the only certain way not to win anything is never submitting. You've got nothing to lose – you should consider your festival budget allocation as a loss if you hadn't done that yet.
What festivals should I submit to?
Yes, there is nothing to lose, but no one said you cannot play it smart and possibly stack more odds in your favour. The way to do this is to be truly honest with yourself about your film, especially in terms of the end result and its level. By doing so and researching festivals, you will find that there will be festivals of the same level of your film, where it will be most suited. This way, you will definitely increase your chances at winning.
So don't be discouraged if your film isn't at a professional level or the level you wanted it to be – there's nothing wrong with this since there will still be festivals out for there for you.
Another tactic is to browse festivals by genre – some festivals are broad and others are specialised. If your film is a particular genre, like sci-fi or horror, you will find that there are many dedicated festivals where your chances of winning might be greater. This also includes student or independent festivals.
Opposite to that, there are broad, very prestigious and popular festivals like Cannes or Sundance where it is almost impossible to be considered – for starters you most likely need to know someone in there to even have your film looked at and have a shot at being within the 0.74% acceptance rate. My recommendation is not to bother entering very famous festivals at first, but best of luck if you decide to!
So, how to research for festivals?
There are great websites like FilmFreeway, Withoutabox, Reelport or Shortfilmdepot where you can browse for festivals and apply directly – some will in fact, only let you apply through these websites.
A word of warning to conclude, make sure to include as part of your research some time to verify the legitimacy of festivals. An accurate rule of thumb is to check the festival's website – see if it doesn't look weird – the number of editions the festival has run for – the higher, the better. It is especially questionable if it is running for the first time – that it is organised by a trusted and reputed organization and even the location. Believe it or not, scammers also target festivals aiming to get hold of enthusiastic filmmakers' money by setting up "festivals" which end up taking place in their living room or in the middle of nowhere!
https://www.societyinmotion.com/wp-content/uploads/2017/12/iStock-476025610.jpg 4912 7360 Juan Cruz-Hernandez https://www.societyinmotion.com/wp-content/uploads/2016/09/IMIS_Logo_Colour_Cropped-300x125.png Juan Cruz-Hernandez2017-12-27 08:00:242017-12-24 02:46:54The Festival Run
From Shorts to Features: An Interview with Chris and Ben Blaine
Friday 29 September 2017 /0 Comments/in Feature Films /by Lisa du Plessis
Chris and Ben Blaine (also known as The Blaine Brothers) are an award winning English writer-director duo who have garnered much praise for their short films and sketches for Film Four and the BBC. In 2015, they released their debut feature film, Nina Forever– a darkly comic, twisted and genre defying tale of love, death and un-dead exes.
Ben and Chris recently spoke at the 'Shorts to Features: Journey of the Award -Winning 'Nina Forever' event hosted by IMIS on Monday 25th of September to talk about the transition from short film to feature film and the journey of their first feature from conception to premiering at SXSW.
I caught up with Chris for a chat following IMIS's event:
LD: So, you're professionally known as The Blaine Brothers, yourself and Ben, as film making siblings who write and direct all your projects together. Could you tell us a bit about how this came to be? When did you start the collaboration?
CB: We obviously used to play together a lot, but then I fell in love with animation and wanted to do some animation. Ben was always writing from a really early age and I was always doing art. So, I bought a camera to do animation and Ben had written a script with his mate Keith and said 'Do you want to make this film with us?' We spent the whole summer holiday making a feature length version of the Bible, like a piss take. But you know we'd not actually ever watched Monty Python's Life of Brian at that point and there were jokes in there that were quite similar and obviously there's a little bit of animation from me to complete it. But yeah, we had a good time arsing around in the woods with our school friends and putting on fake beards and playing around with fake blood and gore and doing stupid jokes. We sold it to the kids at school and it got banned by the school for being blasphemous which was great because it meant that it was something that everybody wanted because the school said they shouldn't have it and we actually sold a lot more copies. We thought this is easy, we can make money from this! So, we started making short films and didn't make any money from those for a very long time.
LD: Quite ambitious beginnings then!
CB: Well, sort of, it was just arsing around with a VHS camcorder. We didn't have any idea about film making or where to place the camera or anything like that and we slowly learnt that by making short film after short film.
LD: So, moving on to screenwriting. What would you say are the benefits of having a writing partner?
CB: Well the enemy so often is the blank page and when there are two of you it's a lot easier to not face yourself with a blank page because it might not be that you're writing but you're always talking. One of you is going to be helping the other one think through exactly what it is that you are trying to do. So, we rarely have the writers' block thing that most have to struggle with and that I do terribly if I'm on my own. But together certainly it is a real joy.
LD: Does it present any challenges that you didn't expect?
CB: It did early on. Ben always did the writing and I was always doing the camera work. Then I'd written a script for the first time and by swapping those roles it suddenly became really clear that we weren't necessarily making the same film when we were shooting it. In one film, there was one character that one of us thought was alive and one of us thought was dead and was a ghost. But we didn't figure that out until the edit and one of us was sitting there going 'Sorry, you think what?' We'd both been intending to make a completely different film, that was actually a good step to find that out and to start properly interrogating each other. And that film then Ben started to really rip apart as a script and we hugely improved it and rewrote it and reshot it as a short. Then after that it was kind of no holds barred, we were always just ready to rip into each other and try and make stuff better but mainly to be going 'What is it that you're actually trying to do?' rather than what it says on the page. So often with a script the intention is actually not in the scene so it can be easy to misread the intention of what that particular scene, or what the film as a whole is trying to say. You can go off on tangents really easily so we just always keep talking about what it is we're trying to do so when you're writing it comes out from that.
LD: How do the two of you set about co-writing a script, do you have a specific method that you use or is it a bit more spontaneous?
CB: It's a fairly regular routine of ideally writing every day but basically we share a screen so we've got two laptops but they're both seeing the same thing. We write in Scrivener which is an application which has organisation so you can do each scene as its own little card and you can put those scenes within a folder for a sequence and you can put that sequence as a folder of an act so you can get the structure of your film and see it really clearly and write a whole bunch of notes. Usually when we're writing we will talk and write notes and figure out what it is we're supposed to be writing. We usually beat out a film using Scrivener and taking a while to actually get into writing it on the page because so often when you put a thing on the page you get really attached to the formulation of the words. That can be a really delightful thing but it can also be really that it doesn't matter the way that those words are put together because an actor will come along and do it in a certain way and is it actually getting to the point of the intention of the scene, it can really get in the way. A lot of the time now we take a while to get around to writing and have talked it through so much that it becomes quicker to write and is a lot more liquid and fluid and easier to keep changing it.
LD: 2015 saw the release of your debut feature 'Nina Forever'. What did you find you find where the challenges of going from writing short scripts to your first feature script?
CB: Definitely not our first feature script! Ben had been writing them since god knows when. I started writing features not long after I started writing short films and Ben had already written some by that point. The biggest thing for us with Nina was that we got to the point that we'd been writing films and slowly but surely trying harder and harder to fit in the model that everybody expects of 3 acts and a down point here, that sort of stuff. It kind of kept taking the life out of the scripts that we were writing as we don't naturally write in 3 acts, it just doesn't really fit us. With Nina we basically just went 'f*** it'- we're not going to write in a genre, we're not going to try and write anything that we expect anyone will like, we're just going to write for ourselves. Literally the weirdest, darkest s**t we could think of that felt right and was making us laugh was all going in there. We fully expected the script to horrify most people in terms of them wanting to work with us because up to that point pretty much all the short films we'd been making were comedies and Nina is blackly comic but isn't really a comedy and it's quite horrific in many ways. We were kind of expecting people to say 'Don't make that movie! Why? Why would you do that?' which was almost the point. In terms of the difference between the shorts and the features, a short always feels like you're trying to express a single idea really simply and perfectly and a lot of the time it either comes out all in one go and it works or you keep going back to it and reworking it to the point that you're not sure that it does what you want it to. With features it is all about the reworking of it. We always find it hard with a short, you feel like either it comes out and you're like 'yeah let's do it' or you get into development hell. It's weird, it's almost easier to get into development hell on a short film than it is on a feature, I guess because it's so few words to be talking about compared to a feature where there is so much that you are able to change. I suppose a lot of that is the juxtaposition of one scene after another, as soon as you just move some scenes that's changed the whole film, with a short you've probably only got about 3 scenes. You don't have as many options available in order to see how it can work, it either does or it doesn't.
LD: Bearing in mind the quite shocking subject matter, did you find that that made securing funding for the film quite difficult? Did people not really understand what genre you were trying to place yourselves in?
CB: Our attention was always that we were never going to go to the industry with it. We raised money privately, we'd actually saved up some money ourselves. We were doing editing for tv- working all hours means that we're not spending the money so we had this chunk of money in the account and we thought ok we can use that to make the film and we can maybe double it and go and make it with as many friendly people as possible and with as small a crew as possible. The producer that we work with Cassandra (Sigsgaard) said she thought we could make it a slightly bigger movie using FDA scheme. So, we went to a lot of different people to raise the money but it actually came together quite quickly. I think if we'd gone to the usual industry sources we probably would've gotten ourselves stuck in the quagmire of 'yeah but what genre is it?' and all of those usual questions that you get. Because we were avoiding it we just got to talk to people who either really believed in us as film makers and were willing to come on board due to that or they actually read the script and because there was a real honesty to it and a real freshness to it, because it is a really different film, they could see how it could be a cool, interesting movie. So, we didn't fall into those pitfalls and the money came together really quickly.
LD: Did you find that by getting financing by other means other than fully funding it yourself that anyone wanted to make any adjustments to the script or change the kind of vision you had for it?
When Cassandra came on board she gave us a bunch of notes and we definitely re-wrote with those in mind but it was still very much the film that we'd wanted to write. The biggest thing for her that sells us as film makers is our voice, so she was really on point in terms of going 'yeah that doesn't really feel like you guys' and actually a lot of the time was pushing us to be weirder which was fun. We were really quick in going into shooting it and possibly could've developed it for longer but actually I think that's part of the reason why we raised the money quickly because we were basically just set on the idea of 'yup we're going to go ahead and make this and we're going to shoot it for whatever money we've raised and you can either be a part of it or you don't have to be a part of it.' We weren't really beholden to anyone which was a really liberating feeling. But then in the edit we definitely got some feedback from our execs and they weren't ordering us to do anything, they were very much like, 'these are my thoughts but it's entirely up to you'. It was actually really nice and again, they were actually encouraging us to go further and be more daring with what we were doing, so it was really positive.
LD: So, what advice would you give to film makers who perhaps have experience making their own shorts but are finding it difficult to progress from that onto making a feature film?
If you can think of something that you can make really small as a feature film and to be able to do it with no pressure, go do it! It's the tricky thing of 'you're not a feature film maker until you've made a feature film' you've always got that catch 22. So, Nina Forever for us was 3 people in a bedroom, and ok, there's the two parents so there's a little bit of stuff around their house but essentially we were thinking it's kind of just two locations, it ended up being like 26. We were thinking this could be a really simple film, it's something we could shoot on a DSLR, and it could just be me and Ben- I can do camera, he can do sound and just the 3 actors. It just felt like the kind of film we were totally ready to go and make and felt perfect for us at the time. When we were starting out and writing it we were thinking we were going to be making this for 20 grand, and it doesn't matter if we fail miserably and if the film doesn't work it's just a chance for us to try and make something, and make something longer and learn all the stuff from that. That no pressure way of making a film can be really good because you can really get the pressure put on you as soon as you start getting money involved. A lot of the time you want your film making to feel free and to not have that pressure. There are so many good films being made now for pretty much f*** all. Actually, it's almost like the film funders are waiting for you to make a film for not very much because they want you to prove that you can do a full-length feature. So, the starting point is no longer making a short for a certain amount of money, it's making a feature film for nothing, following the Ben Wheatley kind of model. There is a real freedom in being able to do that and just going ahead and making something. There are feature films that people are making on iPhones that are winning awards and getting into Sundance. So, you can shoot on anything now and it looks great. So, you're not going 'we need to afford 35m film', it's more 'Na I just need to edit it on my laptop- oh, I've already got that. I've already got some sort of a camera, away we go.' But I think that's kind of the way we always try to think about it- it's just trying to be film makers so just making and not waiting and asking for permission.
https://www.societyinmotion.com/wp-content/uploads/2017/09/Blaine_Brothers_Sitting_2_3_preview.jpg 711 1600 Lisa du Plessis https://www.societyinmotion.com/wp-content/uploads/2016/09/IMIS_Logo_Colour_Cropped-300x125.png Lisa du Plessis2017-09-29 14:59:492017-09-29 14:59:49From Shorts to Features: An Interview with Chris and Ben Blaine
Time Is Money: Production Coordinator Crash Course
Tuesday 2 April 2019 /in Georgina Bobb Zero One Studio IMIS Event /by IMIS Admin
Come join us as production coordinator Georgina Bobb will present the importance of having a production coordinator join your team for any project. Similar to an orchestra, everyone plays their role but without the conductor everything sounds weird or just doesn't happen.
She will:
Give an overview what being a production coordinator entails and the responsibilities on a day-to-day basis for a factual production
Give an insight as to which skills are required to become a great coordinator
How to apply for coordinator roles, tips on what to put in a CV and cover letter when applying for roles
Talk about her experiences on the job as well as her work for Connect 2TV Coaching
About Georgina Bobb:
Within her 13 years experience she has worked as a Junior Production Manager, Production Coordinator, Production Secretary, Post Production Secretary, Production Assistant, Logger, Junior Researcher, Archive Researcher and Runner in Television creating international and UK based content across all television genres. She has also Directed, Produced and Production Managed various Music Promos, Live Events and Commercials that have been broadcasted internationally as well as being screened online.
She has worked with various mainstream celebrities & artists as well as accumulating over 50 TV broadcasting credits working on prime time entertainment and factual entertainment productions for various broadcasters and independent production companies such as BBC & ITV.
Whilst working in television she has created and developed a TV-specific employability business, Connect2TVCoaching providing clients with CV and cover letter writing consultations and mentoring as well as employability workshops, training and networking events. She has received great feedback in which clients have gained interviews and paid work placements at companies such as the BBC, Lime Pictures, Love Productions and other independent production companies as a result. A Ravensbourne Graduate in Content Creation and Broadcast & from a non-traditional background she is passionate about specifically engaging and empowering disadvantaged young people enabling them to develop both personally and professionally giving them the opportunity to gain paid employment within the industry. Qualified with a Level 3 Award in Education and Training she has delivered TV and Media specific employability workshops through Connect2TVCoaching.
One of Georgina's treasured moments in her career thus far includes receiving her first award nomination under the category of Rising Talent at the Screen Nation Awards – a ceremony that celebrates diversity within film and television. In 2019 I worked as a Production Coordinator on a programme called Operation Live, The Open Heart Surgery: Uncut which has also been shortlisted under Live Event at the BAFTA's. She has also been nominated as a Rising Star at the We Are The City awards a ceremony for professional women.
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Selling Your Feature Film: Using a Proof of Concept
Tuesday 5 February 2019 /in Dwayne Gumbs Zero One Studio IMIS Event /by IMIS Admin
Come join us as writer/director Dwayne Gumbs will present the importance of having a proof of concept in order to sell your feature film script to investors. He will screen 'Holy Beef', a proof of concept for his feature film currently in development.
'Holy Beef' was funded through Film London's London Calling scheme and was in official selection at the BFI London Film Festival 2018 and the London Short Film Festival 2019. As such, the project has also been supported by Film London as part of their Microwave scheme for first time feature filmmakers.
Dwayne will:
Talk about when and why the proof of concept became vital to his feature project
Give an idea of how to create a feasible and engaging a 'short version' of a substantial feature idea
Share his experiences of the benefits the proof of concept has brought with it and what it means for the future of his project
Come along to this gem of an event, meet new people and get some insight into the ins and outs of the journey from proof of concept to feature production.
About Dwayne Gumbs:
Dwayne's passion for writing found an outlet as a child through Grime. Having grown up in East London when the culture was emerging, his hobbies included MCing, DJing and music production – a connection he's maintained to this day. In 2008 he founded Diverse Voices Entertainment, a unique entity for young people to express themselves and access opportunities in the arts which would otherwise not be available to them. He has written and directed many live shows and short films, all co-created with these young people.
Dwayne collaborated with Iain Simpson on the Film London funded grime comedy short 'Holy Beef', a proof of concept for a feature in development, 'Running Out of Grime', which was also developed through Film London's Microwave scheme.
Dwayne is passionate about creating positive depictions of a young generation too often portrayed negatively on screen. Whilst the London film industry is definitely broadening the range of stories being told, he still feels there is an unaddressed gap in the 'Urban Film' market, which is not a fair representation of the vibrant and positive inner city London life he experienced growing up, nor the true nature of today's youth.
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A Star Is Born: How to Find the Perfect Cast for Your Film
Thursday 11 October 2018 /in Hannah Williams Zero One Studio IMIS Event /by IMIS Admin
UNFORTUNATELY OUR GUEST SPEAKER HAS HAD TO POSTPONE, WE ARE LOOKING AT REARRANGING THIS EVENT IN THE FUTURE. WE WILL KEEP YOU POSTED! THANK YOU FOR YOUR PATIENCE.
Come join us as Hannah Williams, Casting Director and U.K. Casting Specialist at Backstage, will talk about one of the most crucial steps in the film production process, casting for your film. She has worked on projects such as Fantastic Beasts, Tarzan, The Falling, Beast, etc.
explain the role of the Casting Director
walk you through the casting process of low and high budget productions
address the best ways for filmmakers in getting the perfect talent
talk about do's and don'ts for filmmakers and actors whilst auditioning
Come along to this gem of an event, meet new people and get some insight into the world of casting.
About Hannah Williams
Hannah Marie Williams has been working in the business of casting for over 8 years, working on big budget features, indie shorts, commercials, TV, documentary and everything in between. She is now launching the UK arm of Backstage, a long established and highly regarded actor publication and casting platform from the US whilst also continuing her work as a Casting Director.
About Backstage:
For over 50 years, Backstage has been the most trusted place for actors and performers to find jobs and career advice, and for casting professionals and talent seekers to find the right performers for their projects.
Today, Backstage is the largest online casting platform in the United States, with over 4,000 roles posted every week, and over 100,000 members building their careers on the platform.
Casting professionals can take advantage of sophisticated application management tools to make the job of finding the perfect performer a breeze.
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Networking&Drinks&Shorts
Wednesday 10 October 2018 /in Zero One Studio IMIS Event, Networking /by IMIS Admin
CALL FOR ENTRIES! FREE TO SUBMIT!
Join us as we celebrate short film of any narrative, structure and genre.
And as a perk, a full free year of membership will be given to a member of the crew of each of the films selected for the screening.
Everybody starts little, but by no means small. We are showcasing a range of exciting, quirky and inspiring short films made by passionate people. Talent can be reflected in so many was, let's bring it to the screen. Even if you don't have a short to show, we would invite you to come and network with other filmmakers!
Submit your film today and come join us at our networking event. Watch works from fellow professionals, meet peers, chat, exchange details, collaborate and most of all, have fun!
How to Submit Your Short Film:
Click 'Order Now' and select 'Film Submission' ticket.
Visit: https://www.societyinmotion.com/networking-drinks-shorts-submission/ to submit your short.
Keep an eye on your inbox to see if it's been accepted.
Rules for Short Film Submission:
You must register for a ticket (see above) & be in attendance on the evening of the event.
Your short film must be 15 minutes or less in length.
You must possess the right to show the film.
Submission does not guarantee that it will be shown on the evening. You will be contacted if you are selected either way beforehand.
A full free year membership will be awarded to one crew member of each selected short film
SUBMISSION DEADLINE: 19th October 2018, 5pm BST
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Journey To The Oscars: From Concept To The Awards
Saturday 14 April 2018 /in Zero One Studio IMIS Event /by IMIS Admin
Come join us as producer Cass Pennant will talk about his experiences bringing his film to become Oscar short-listed. He will:
give insight into what paved his way to the Oscars
talk about his colourful life and vast career stretching over six decades
present and screen his short racial drama Beverley (2015) which made the Oscar short-list in 2017
Cass Pennant has also consulted on several popular British movies such as:
Alan Clarke's The Firm
Guy Ritchie's Snatch
Lexi Alexander's Green Street.
Come along to this gem of an event, meet new people and get some insight into the ins and outs of successful short filmmaking.
About Beverley:
'Beverly' was short-listed for the Oscar Nomination for Short Action Drama in 2017. The short racial-conflict drama was also screened in over 100 festivals and theaters all around the world and has won an outstanding 36 awards, including Best Short Film at the UK National Film Awards 2017.
Beverley (Premise):
Beverley is about a mixed-race teen on a white suburban estate. The local gang have completely different ideas about what she has to offer and her fight to fit in leads to devastating consequences.
About Cass Pennant and Urban Edge Films:
Black British born Independent filmmaker Cass Pennant is a former 'Barnardo's boy' in the late 1950s whose own incredible story was turned into the British cult film CASS directed by Jon S. Baird in 2008.
With his founding of Urban Edge Films in 2010 he has taken further strides with his film work developing ideas, which are innovative and surprising in their approach. Pennant marked his filmmaker credentials when taking the 'Best Film' award for his feature documentary on the 80s football fashion subculture Casuals (2011) at the Portobello Film Festival in 2012 becoming a TV broadcast in 2013 on the Community Channel before purchased as a UK Netflix release in 2016.
He co-produced, working with director Gabe Turner (In the Hands of the Gods, The Class of '92), violent thriller The Guvnors (2014) Rizzle Kicks' star Harley Sylvester marked his feature film debut co-starring with actor Doug Allen. Premiere screened at Edinburgh Film Festival and won Best Action Movie at the 2015 National Film Awards.
His short film Beverley (2015) has been screened in more than 100 festivals and theaters all over the world. It was "short-listed" for the 2017 Oscar Nomination for Short Action Drama and has won thirty-six awards, including a Best of Fest Award from the St Louis International Film Festival. This work was also winner of Best Short Film at the UK National Film Awards 2017. Cass traveled extensively with the film, leading discussions at anti-racism festivals and at universities, and community groups.
As well as a freelance filmmaker, writer, interviewer, speaker and media consultant he is also a patron for the British Urban Film Festival.
About IMIS
The International Moving Image Society's (IMIS) aim is to inspire, train, educate, and connect all members of the moving image industry, whether at entry or professional level, around the world. We accomplish this by putting on networking events,
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Networking&Drinks&LGBT Shorts
Friday 9 March 2018 /in Zero One Studio IMIS Event, Networking /by IMIS Admin
CALL FOR ENTRIES! FREE TO SUBMIT! Join us as we celebrate LGBT filmmakers and their exciting short films of any narrative, structure and genre. And as a perk, a full free year of membership will be given to a member of the crew of each of the films selected for the screening.
Over the past decades, filmmakers have amazed the world with the development of a grand range of fantastic short films with LGBT focus. In this exclusive screening, we celebrate narratives of every genre influenced by LGBT subjects matters and members of the LGBT community.
Submit your film today and come join us at one of our regular networking events. Watch works from fellow professionals, meet peers, chat, exchange details, collaborate and most of all, have fun!
Visit: https://www.societyinmotion.com/networkingdrinkslgbt-short-film-submission/ to submit your short.
Your short film must have an LGBT-theme or you as a member of the crew identify as LGBT.
Submission does not guarantee that it will be shown on the evening. You will be contacted either way beforehand.
SUBMISSION DEADLINE: 9th July, 5pm
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Networking&Drinks&Music Videos
Friday 23 February 2018 /in Zero One Studio IMIS Event /by IMIS Admin
Music video production is an exciting field. Submit your music video today and come join us at one of our regular networking events. Watch works from fellow professionals, meet peers, chat, exchange details, collaborate and most of all, have fun!
How to Submit Your Music Video:
Select ticket and click 'Order Now' (see below).
Pay for your ticket if you're not a member.
Visit: https://www.societyinmotion.com/networkingdrinksmusic-videos-music-video-submission/ to submit your Music Video
Rules for Music Video Submission:
Your music video must be 6 minutes or less in length.
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Park City Institute Reports First Pop-Up Concert A Success
KPCW | By David Boyle
Published July 5, 2018 at 7:58 AM MDT
Courtesy Park City Institute
Park City Institute's concert series opened on July 3rd at Quinn's Junction with a performance from Los Lonely Boys. The concert was the first for the series new venue.
Park City Institute Director Teri Orr says the St. Regis Big Stars Bright Nights concert series started off right with Los Lonely Boys
"The band was terrific, they're a Park City favorite this is the 3rd or 4th time we've had them. To have them kick off the 4th of July was just right."
The pop-up concert took place at Quinn's Junction Recreation Complex. The concert series moved to the new venue after Deer Valley announced it would no longer host the series after 14 years.
The change of venue meant a few other changes to the logistics of the concert. One challenge the series faced is very limited on-site parking. Park City Institute set up busses to and from the parking lot, Orr says that was a success.
"The bussing was very, very smooth. We had a great Le Bus, and we had support from Four Seasons Transportation." Orr said "We didn't get any complaints about people getting to and from where they needed to get to. We didn't have any congestion on the road at all, that I'm aware of."
Orr says they know they can improve but she's happy with how this first concert went.
"We can make some improvements I think it's fair to say, but for a first time we're not unhappy." Orr said. "The food trucks were amazing, they did great business. The wind died down just as the concert was getting started. It was a warm, lovely, evening, but not hot. It was very different in having the audience flat and the stage elevated. Everyone there had a terrific view. What we didn't really expect, kind of a bonus, was how great the sound was out there"
One issue that Orr noted was the distance from the bus drop-off to the will call office.
"Where people were dropped off and where they got their tickets seemed to be the only real hiccup of the evening." Orr explained "We have such little space there that is enclosed. So, where we had the tickets, in the concession area, was not as close to the bus drop-off as we had planned. There was a little bit of maneuvering to take your cooler and pick up your will call tickets; and that's easily fixable."
Orr said the evening had a very familial vibe.
"It just felt like such a, though we have many many second home owners who feel like Parkites and family, it felt like such a local evening. There was just such a great community vibe to it. From Silly Market to the Green Machine Recycling, to so many people who volunteered and helped us out. It really was a huge community effort and we're so grateful."
Orr did not have final numbers as of July 4th, but she did guess around 1,500 people attended the concert. She said they look forward to growing those numbers.
The second concert of the season will be Grace Potter at City Park on July 13th. The remainder of the shows will be back at Quinn's Junction.
Local NewsSt. Regis Big Stars Bright Nights
KPCW reporter David Boyle covers all things in the Heber Valley as well as sports and breaking news.
See stories by David Boyle
Park City Institute Tackling Challenges Of Pop-Up Show
Park City Institute is busy tackling challenges of pop-up show and hoping to get a little of help from members of the community. David Boyle has more:
Los Lonely Boys Music Shaped By Culture, Family
Rick Brough
The Park City Institute's "Big Stars, Bright Nights" series kicks-off Tuesday at a new location. The opening act is three brothers who call themselves…
Los Lonely Boys Performs At New Park City Performing Arts Big Stars Bright Nights Quinn's Venue
The Big Stars Bright Nights Concert Series opens their season on Tuesday with Los Lonely Boys at their new venue at the Quinn's Junction Recreation…


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LFWM AW18
TopMan MAN
MBC produced TopMan MAN fashion show's at Old Selfridges hotel in partnership with Fashion East. The lighting was used to create an illusion of false architecture details. The dynamic changing light created anticipation before the start. This years designers included Art School, Stefan Cooke & Rotting Dean Bazaar.
Charles Jeffery LOVERBOY AW18
MBC produced the Charles Jeffery AW18 show at Old Selfridges hotel. Theo Adams choreography instilled a wild and immersive atmosphere providing a spectacular closing to MFW.
Astrid Andersen AW18
MBC produced the Astrid Andersen AW18 show at Old Selfridges hotel.
Winter Round-up
Bottega Veneta Exhibition
MBC designed and produced Bottega Veneta's global event, 'The Hand of The Artisan' hosted at Chiswick House. The setting within the Palladian mansion provided the perfect backdrop for the iconic Italian brand and the spirit of the Veneto. The design comprised of multiple shareable moments while showcasing a variety of their museum pieces. Live artisans worked alongside the exhibition and educated guests on the history and craftsmanship behind the leather goods, jewellery and fragrance.
MBC creatively produced Glossier's pop up at 32 Portland Place providing the cult beauty brand with the perfect backdrop for it's much anticipated arrival in London. The space contained multiple immersive and interactive beauty rooms with dramatic floral displays in collaboration with innovative florist, Fjura. The week-long pop up received record footfall numbers and digital impressions.
The Evening Standard Theatre Awards were this year held at Theatre Royal Drury Lane and hosted by the admirable Evgeny Lebedev, Anna Wintour, Lin-Manuel Miranda and Cate Blanchett. My Beautiful City proudly designed the stunning interior structures and took the awe-inspiring venue as the basis for the slow, subtle, turning kaleidoscope that filled the stage during the dinner and made for the backdrop to the award ceremony. It was a night filled with great musical performances, fantastic wins and the best and brightest of the theatre world turned out to celebrate.
In November, the Canadian High Commission hosted a stunning Canada Goose show in conjunction with the launch of their UK flagship. My Beautiful City took the two elements of the brand, fashion and function and merged them into a show that explored their collaborations with the likes of Vetements and also their relationships with the "Goose People" ambassadors like Lance Mackey, a world-renowned Musher who personally walked in the show for the authenticity of the brand.
Fashion For Relief show hosted by Naomi Campbell
During the 70th anniversary of the Cannes Film Festival, My Beautiful City produced Fashion for Relief annual charity gala and fashion show. Hosted in a stunning private airport hangar, the star-studded runway Naomi Campbell herself, Natalia Vodianova, Kate Moss and Antonio Banderas, the guests then enjoyed a beautiful gala dinner and were fantastically generous in the art auction that followed.
Gemfields
MBC produced an event at Somerset House for iconic gemstone supplier, Gemfields. The event for the ethnical mining company was to celebrate the launch of their book, Ruby. The space brought to life the book and its graphic language through a series of educational and immersive installations. Historic jewellery pieces sat alongside curated footage of the sustainable mines, telling the story of the brand.
Julien Macdonald SS18
Bankside Vaults; the scene for this season's Julien Macdonald LFW show. As ever it was a spectacle to behold and more a party than a show, the space was flooded with strobe lighting, lasers and sequins. The impressive model lineup included Winnie Harlow, Alessandra Ambrosio and Hailey Baldwin. My Beautiful City teamed up with Refinery 29 and Ciroc Vodka to help maximize Julien Macdonald's social media exposure on the night.
Versus Versace SS18
The Central Saint Martin's Kings Cross Campus was home to My Beautiful City's production of the Versus Versace show during LFW SS18. Built across the back of the venue was an immense wall of stacked speakers, blasting out the soundtrack that set the scene for the collection's inspiration. An oversized paper installation created a moving mosaic and brought a playfulness to an otherwise austere space.
MULBERRY Shanghai
My Beautiful City produced two interactive photo moments for Mulberry store launches in Hong Kong and Shanghai this June. A 90-degree camera rig was incorporated with a bespoke angled backdrop, designed with suspended florals and installed as a photobooth, maximizing the event's digital footprint. The guests were captured by 9 cameras simultaneously and then instantly turned into a fantastic GIF or a bespoke image as a keepsake for guests.
Michael Kors x Tatler
My Beautiful City produced the opening night of Michael Kors' Exhibition 'Tatler's English Roses', taking over the entire Saatchi gallery. With free reign of the building, guests immersed themselves in a digital landscape within the exhibition, enjoyed photo booth fun to upload directly to social media and danced until late with sets from the likes of DJ Henri and 2ManyDJs. High profile guests included Jourdan Dunn, Edie Campbell and the owner Michael Kors who flew in especially.
Michael Kors x Sexy Ruby
Michael Kors' Sexy Ruby perfume was launched in the striking South Tank at the Tate Modern and designed and produced by My Beautiful City. The perfume led the design and exploration of the entire event, from the florals, to the colour palette, the basis for the event was social traffic and as such, all elements were designed so that guests were able to capture and convert social traffic to Michael Kors.
From start to finish, this immersive event was designed to showcase explorative elements of the perfume, including a functioning olfactory bar that also told the story of the perfume through bespoke cocktails and an engraver personalising the bottles as gifts for guests to take with them.
ALEXACHUNG SS18
Held in a school hall in the shadows of The Sacré Coeur, Paris, the space was transformed into a nostalgic 'Prom Gone Wrong' scene for the presentation of the SS18 ALEXACHUNG collection. Bespoke choreography saw the models create a playful but solemn narrative that perfectly encompassed the nature of the collection.
Chloe x MOCA
The rooftop of the Museum of Contemporary Art provided the perfect setting for an intimate LA Chloe dinner. The event celebrated the recent opening of the Anna Maria Maiolinao exhibition for which My Beautiful City flew over London based food blogger, Tess Ward to curate the menu and booked the upcoming dream pop band, Winter, a pairing that worked sublimely to create the perfect mood for an al fresco dinner party in September.
Peoples Of All Nations
My Beautiful City helped to produce an immersive presentation for Peoples Of All Nations, where an impromptu introduction to their SS18 collection, transformed into a Stanley Kubrick'esque after party. The spectacle included an underwater dance, light performance and firework heavy rocket launch that all took place in the stunning grounds and pool house of a sensational mansion in rural Kingston.
Alexa Chung SS18
Autumn/winter 2017 Round-up
My Beautiful City were in the thick of a busy month of fashion, kick-starting New York Fashion Week with the launch of Fendi's digital platform, "f is for…" targeting millennial fashion and music enthusiasts globally. The night was celebrated with a stellar line up of Hip Hop artists and House DJs from around the world.
Versus Versace's third season showing at London Fashion Week was attended by an 800 strong audience of UK and international VIPs, press and buyers. Donatella's striking collection dominated social media as Gigi and Bella Hadid walked the runway through a bold and dramatic light show designed by My Beautiful City.
My Beautiful City transformed a derelict townhouse in Mayfair into a club environment, lit in shocking-pink hues to launch the YSL Beauty Club. The event celebrated the new YSL lipstick range where DJs were framed by a pair of 8ft red lips and sinks full of beautiful lipsticks were made available for guests to enjoy.
Victoria Beckham's new range for Victoria Victoria Beckham was showcased in the beautiful and iconic setting of The Ritz during London Fashion Week. My Beautiful City updated the classic Ritz interior with some of Victoria's signature minimalist and modern elegance.
The Old Central Saint Martin's College building welcomed Emilia Wickstead back to her roots with a moodily lit, salon style show. Whilst at Goldsmiths Hall, surrounded by tall columns and medieval paintings, Julien Macdonald's equally opulent collection, was led by model of the moment Winnie Harlow.
Other highlights included an intimate party at Bush Hall for Marks & Spencer to celebrate the second Archive by Alexa collection designed by Alexa Chung. Not long after, during Paris Fashion Week, My Beautiful City produced the debut presentation for Alexa's very own name-sake label which went down a storm in a newly restored classic building in the Marais district.
My Beautiful City continued its longstanding relationship with Vivienne Westwood by producing her London Fashion Week Mens AW17 show that featured both men's and womenswear. It also marked her return to London after seasons showing in Milan.
My beautiful City was also behind the exotically green and botanical set that Maison Mihara Yasuhiro's collection was shown amongst at the Barbican Conservatory.
And lastly, Boutique 1 celebrated in style at it's own store in Sloane Street to mark the launch of its e-commerce platform. In keeping with the digital innovation, My Beautiful City designed a bespoke photo booth with a digital glitter backdrop from which guests created their own 120 degree GIF.
Versus Versace AW17
INTRODUCING OUR NEW WEBSITE
To mark our 10th Anniversary and the start of an exciting new chapter for My Beautiful City, we have updated our website and brand identity to reflect the growing creative and strategic work we've been doing here at our London HQ. As a fully integrated creative agency, we now offer art direction, content design and brand strategy as well as our core production services.
We love taking a holistic 360 approach to your campaigns and events, ensuring we stay true to your brand DNA whilst continuously pushing boundaries. Take a look at the new site and our recent work, we'd love to know what you think.


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Shedd Aquarium Reopening Next Week, But You'll Need To Buy A Ticket In Advance
Missing the Shedd's penguins and dolphins? You'll be able to see them again soon.
Kelly Bauer
1:44 PM CDT on Jun 24, 2020
Two beluga whales at the Shedd Aquarium are expecting this summer.
©Shedd Aquarium/Brenna Hernandez
CHICAGO — The Shedd Aquarium will start reopening July 1.
The aquarium has been closed since March due to the coronavirus pandemic, but the city will enter Phase 4 Friday, allowing museums, zoos and other places to reopen.
The Shedd plans to allow members and sponsors to visit starting July 1, while the general public will be able to visit starting July 3, according to a press release.
Visitors will be required to buy a ticket online or by calling 312-939-2438 before coming to the aquarium. The ticket presale for members started 10 a.m. Wednesday, and tickets for the general public will go on sale noon Thursday.
Visitors will have to stay 6 feet apart and wear face coverings, and admission will be timed.
The museum has also removed frequently touched surfaces, like interactive screens; put up barriers where social distancing can't be practiced; and created circulation paths so people will keep moving in the same direction. Water fountains will not be available, and the aquarium is encouraging people to use credit cards if possible when buying things.
Aquatic presentations and the 4-D theater have been put on hold for now so people won't gather to watch.
The staff is also required to wear masks and is doing more cleaning and sanitizing.
More information about the changes and planning a visit is available online.
While closed, the aquarium famously used social media to release videos of its animals. The videos showed curious penguins waddling around the aquarium — and even a porcupine going on a field trip.
The aquarium also welcomed four Magellanic penguin chicks, seahorses, bonnethead sharks and cownose stingrays. Two beluga whales and one Pacific white-sided dolphin are pregnant and due this summer, as well.
Block Club Chicago's coronavirus coverage is free for all readers. Block Club is an independent, 501(c)(3), journalist-run newsroom.
kelly@blockclubchi.org


Are you searching for home insurance coverage in Glencoe, IL? Enter your Zip Code to compare the best options available nearby. Comparing multiple quotes is the best way to save money on your homeowners coverage in Cook county.
Have you been asked by your mortgage lender to get homeowners insurance? Did you just purchase your first home and understand the value of insuring it but don't know what type of coverage to buy? If so, here is some information to help you get the Glencoe, Illinois homeowners insurance you need.
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