Big Opportunity in the Big Easy

As New Orleans reels from the growing pains of building an entertainment industry in a post-Katrina environment, many questions remain how to grow the industry. Thanks mainly to tax breaks, Louisiana is now third behind California and New York in the amount of film production but much of the post-production work is finished out-of-state primarily in Texas, Florida, and California. Studio Daily recently spoke with producers, filmmakers, ad agencies, and post-production houses to see what is being done to grow a sector of the industry considered sustainable. Because Baton Rouge is an hour’s drive away and is attracting both Hollywood productions and infrastructure, that city has also been included in this article.

As a full-service studio based in New Orleans serving clients throughout the U.S., Trumpet Advertising create brands through communications programs designed to help business ideas attain cultural influence. Commenting on the city’s capabilities, Robbie Vitrano of Trumpet Advertising reports,
“The post-production infrastructure is limited to editing, sound design and limited graphic work. The best way to accelerate the development of said infrastructure would be to group productions (multiple pictures or television commercial shoots) to help to minimize the risk of a significant investment into first class post production. Much of that work would still require help from out of town.”

Expanding upon this sentiment, New Orleans independent filmmaker Charlie Brown whose movies include Never A Dull Moment: 20 Years of the Rebirth Brass Band and the recently wrapped the Goth-themed feature film Angels Die Slowly adds, “New Orleans has some incredible talent, but we don't have ‘houses’ with which a studio would rather deal. Hollywood wants professional work, but it also wants convenience. We need to graduate from garage business (of which I am one) to a professional business model. I think the way the locals could go is the co-op model, but it would require someone with connections to go out and sell it. I think the independent producer could find a great deal among the local talent, but we are not ready for Hollywood-level post-production.

“A television series such as K-ville or The Big Easy will always be a short term concern. Even if we get 6 or 7 years out of K-Ville, there is no incentive for Hollywood to build permanent infrastructure so that New Orleans can snag 2 or 3 series. Sound stages, post houses, digital production studios are what we should be investing in. If we could undercut current prices and deliver a great product, then we will truly be competitive and not just a great location.

“While I don't think it would be wise for Louisiana to delve into film processing as I think it is on the way out, what we lack is an organized post-production facility.”

Joe Huggins, a manager of full-service lab Cinefilm notes, “Film labs are not growing but shutting down. We have been approached by several people to install a lab in the New Orleans area but that is not practical as HD advances. Our company has a new Baton Rouge office but the main lab is in Atlanta. Our office and Louisiana LLC allows us to provide the film services to state projects along with the state tax discounts.. Using Delta Dash or FedEx, we can provide same day processing and dailies and post them online that day with tapes sent back overnight. Being 3 time zones ahead of west coast labs is a real advantage for getting your dailies almost a half day sooner."

Complementing these technical capabilities, Greg Milneck, CEO of Baton Rouge full service production and post production studio Digital FX, Inc. comments, “We have four edit suites, five visual effects suites, audio post, a production studio, and multiple camera, grip and lighting packages. Our work includes international, national and regional commercials, visual effects and animation for feature films and television networks. Digital FX offers the only 2K Discreet Smoke suites in Louisiana and we are currently building a complete 4K workflow. We will have the first 4K Digital Super 35mm camera in the region, and the only total 4k DI workflow including acquisition, editorial, grading, vfx and finishing. Our recent clients include Red Stripe Beer, National Geographic Television and NFL Films. Recent feature work includes visual effects work for Homeland Security, Smother, War, Inc. and Cleaner.

With a business also in the state capital, Film Design production company owner John McDougall adds,
“New Orleans and Baton Rouge are set up to handle post-production work for movies, television, and national commercials, but we are limited on the number of post houses and knowledgeable individuals who have years of experience. We are making progress each day, but it's more a matter of people than equipment. Infrastructure for post-production work could be quickly and efficiently built by having experienced professionals move to Louisiana to live and work to support existing facilities and allow for the development of new facilities.

“Having Hooperwood Studios with their greenscreen in Baton Rouge has been a major asset. I just used it for the music video Wipe Me Down (currently number one on BET last week and number 4 on MTV).

“Regarding film processing, ADR, motion graphics, and color correction/DI work in Louisiana, the key as in any film is getting good referrals from local producers and filmmakers. All the services you mention are available here from good experienced professionals, but doing some homework and checking references would be required.

“Having a television series is essential to building a sustainable film/television industry in addition to more films that keep production services within the state as opposed to leaving as soon as location photography is complete. By having a series in production within a community it builds all aspects of production services across the board from a strong crew base and support services all the way to post production and DI finishing. Having true sound stages in New Orleans and Baton Rouge are critical and locally stocked lighting, grip and electric is in dire need.”

Independent filmmaker Mari Kornhauser whose works credits include Housebound and the cult classic Zandalee comments,

“The New Orleans/Baton Rouge corridor is definitely getting set up for post-production with some houses already up and running. In New Orleans, for instance, Swelltone Labs has a complete sound mixing facility with ADR, sound editing, etc. In Baton Rouge there are houses such as the very active Louisiana Media Services and Celtic Media Centre (being built in conjunction with Raleigh Studios from Los Angeles).

“Celtic will have a huge complex with multiple stages of different sizes and multi-purpose post spaces. They are also about to open office space and small stages imminently. For the video game industry, there isn't big enough studio space to shoot yet but there will be soon. There is no film processing here. Productions will still have to ship like they always have. More post projects/facilities are being planned and we'll see if they will happen. Infrastructure is needed but it needs to be done correctly and intelligently.

“In my conversations, I tell producers to shoot here-the crew base is building and infrastructure is happening. In both cities, there are very talented people doing motion graphics, titles, etc. The corridor also has many high-caliber professionals in post-production who have great credits and have moved from L.A. to be a part of our filmmaking community and help make it happen. Nonetheless, lack of crew base in production is hurting us more than anything and that is the factor I grapple with most in talking with producers. Fortunately, the cities and state are aware of this and are working through various entities in creating crew training. While TV series are nice because of constant employment and revenue stream, they don't absolutely “make” an industry. It's fantastic New Orleans has K-Ville and hopefully Baton Rouge will get one, too.”

“The New Orleans Baton Rouge corridor is not Los Angeles and probably never will be because we have few funding sources and distribution outlets for producing and releasing movies. We also do not have enough above-the-line talent who create the intellectual property (e.g. scripts) that are made into movies which builds infrastructure. Of course, if a filmmaker on the scale of Peter Jackson were to live and work here then all bets are off as to how the course of history can change for these two cities.”

Finally, Jonathan Lisco, executive producer of the Fox crime TV series drama K-Ville concludes,
“We have an order from Fox for 13 episodes including the pilot. If the show takes off, we could shoot as many 22 this season. Regarding post-production in New Orleans, we don’t do it there. For one, there’s no film laboratory in Louisiana. In addition, it’s simply easier to control in Los Angeles at the studio as we already have the infrastructure in place.

“As far as building a sustainable industry, New Orleans is one and a half crews deep. We find we have to bring our keys from Los Angeles but we’re doing everything we can to use New Orleans talent. Our sound mixers, grips, caterers are all from New Orleans. We want to use New Orleans talent, but because of the high volume and access to experienced movie-making talent in Los Angeles we find it easier to use Los Angeles talent.”