(Photo snapshot of Elaina Badro’s makeup in The Kid’s Heat “Natural Beauty” music video.)

Celebrity & fashion makeup artist Elaina Badro has worked with AZ Productions numerous times and never fails to leave an outlasting impression on us and the artists we work with. I’m not sure how she was first introduced to our humble production company, but I do know that she is always a hit.

(Elaina Badro working on DMX.)

Her talent truly lies in her creativity. She has a knack for finding the right colors and textures to make the talent pop on camera and can pull off anything a director throws her way. Her experience is extensive, especially for someone in their twenties, and the quality of her output is unparalleled. Many makeup artists work for decades before they can deliver her level of excellence and attention to detail.

I’ve personally worked with Elaina on numerous projects and have found her positive attitude and playful sense of humor to be a breath of fresh air on set. Professionalism and punctuality are an ingrained part of her work ethic, which in turn helps immensely with busy shoots. Sometimes I can’t believe she keeps positive after the grueling 16 hour days and extensive makeup needs associated with different kinds of videos.

Aside from her talent and creativity in makeup, Elaina has created a buzz amongst the celebrities and production team here at AZ Studios… with her special cosmetic brush line. The conversation is the same each time: the client tells her how amazing the makeup looks; she tells them how they can get the same effect if they have the right brush; she shows them on herself or someone close by; the client ends up with a full set of Badro brushes. Done deal.

The crazy thing is these brushes really do aid in her work. You can see it: with every brush stroke there is even distribution and immaculate lines. Achieving the flawless makeup looks she is known for, now only takes half the time.

We are lucky to have such a team player with us and can’t wait to see what kind of magic she conjures on the next shoot.

(Elaina Badro and Keenan Cahill.)

Congrats on all the success, Elaina Badro. Much love and support from the AZ TEAM.

If you would like to check out her work or get some of the amazing brushes, visit: http://www.elainabadromakeup.com

Lisa Rine shoots her video about war in the desert.

A random heat wave had California burning in the middle of January. This was actually a bit of good luck that no one could have anticipated, although I’m sure the actors would beg to differ. This latest video shoot for Lisa Rines’s new song, War Is Hell, is a look at war and its effects on the heart. Set in a strangely familiar desert war setting, it depicts US troops battling for their lives and loved ones.

Now, you might be asking yourself why it was lucky for us to be shooting in the uncomfortable heat with dirt and dry winds blasting into our faces and equipment. Well, the fact that things were uncomfortable and hot brought out the feelings of discomfort which in-turn brought out the best in the actors. People were sweating, sitting on rocks and dirt, hacking up filth and blowing their noses free of black boogers. The discomfort and hard work seemed to remind everyone of those who are actually fighting wars out there in even worse conditions.

Thoughts of unbelievable desert temperatures and actual bullets whizzing past your ears are just a few of the thoughts that kept haunting my head throughout the day. Needless to say we got something extra from the actors, as well as true brilliance from both the producer Zeus and director Ali’s creativity and dramatic interpretation.

Fans of Ms. Rine and AZ films should get ready for a fun and dramatic video that deals with an ever relevant and sad theme. Stay tuned for War Is Hell and check out the interview with Miss Lisa Rine below.

Omarion is no new face to music or the silver screen.

An LA local that found success at a very young age, he has done so many things which others have only dreamt of.

All of that success so early on makes me think of how hard it would be to stay driven and do better. So, when he stopped by for his latest video, I felt a need to know what it was that encouraged him to strive for greatness.

I made my way down to the studio and watched the shoot for a few hours. The music had a smooth, rebelliously sexy feel, and the video promises even more of the same. Anyway, on one of the breaks I got a chance to talk to him, and being the humble personality that he is, he agreed to an interview.

Q: So what brought you to AZ studios to make this song a video?

A: Well this is a studio that I am very familiar with. I actually shot another video here on my own that went viral. But today we’re here focusing on a collaboration that I did together with (the artists named) Money. It’s for a song called Restraint. This song is dealing with the things that happen when you like somebody but you don’t want to admit it. So far we got some great footage, and we’re getting it done, baby!

Q: After B2K, a film/TV and solo recording artist career garnering multiple awards…where do you see yourself going in 2012?

A: On to bigger and better things! I have my eyes on advancing not only on the business end of the industry, but creatively as well. Every year you got to just want to get better.
You know, to have the opportunity to do this for as long as I’ve been doing it, which I’ve been truly blessed, I thank god for my foundation. So, now it’s time for me to strive to get better and better both for my fans and for my own sanity.

Q: Having had such a long career and starting at a young age do you ever find it hard to stay inspired?

A: Well, you know, there’s something similar about all the people that have ever been great in this world and that’s the fact that they never stop. Now I see life as the ultimate muse. Just brainstorm the things that you experience in life: love, anger, competition, different sounds, different sights. So, I look to the greats for motivation and use life as my inspiration.

Q: What’s your trick for staying motivated when times get tough?

A: It depends on what you mean by tough. Around here we believe that you have to push forward especially when it hurts. You have to just take a second to realize that’s going to happen and that you have the all-mighty on your side, then take a breath, focus, and keep on moving.

Q:Who are your biggest musical influences and inspirations?

A: Definitely Michael Jackson, but recently I like anyone that can capture the heart. You know this business is so full of people trying to make money or trying to make someone else happy that they forget to just feel. So it’s nice to hear some really inspired work.

Q: Most of the endeavors you have decided to embark on have been extremely successful, which begs the question: does Omarion have a secret to his success?

A: I think so, and that’s just to go with your instinct and do what feels right. You also have to make sure to align yourself with the right people. And, I mean you have to take the bad with the good. Sometimes things may not be as successful as you want them to be. But at the end of the day, when you put your heart into something, and do it for all the right reasons, your dreams can come to fruition.

Q: If there is one thing you want the world to remember you for what would it be?

A: Probably…hmm, well that’s a tough question. But I think it’s the same thing that everyone wants: just to be remembered for having given it my all, and inspiring people to be better.

The main thing that stuck out to me about Omarion was just his desire to pursue and improve on his art. With that kind of focus and drive it’s no surprise that he has found success. The shoot itself was a great victory with so many amazing shots, and a great song to boot; it should be coming out soon so stay tuned.

Behind the Scenes Goods and shout outs to AZ Studios in this MOB Fam Video!

When writing a screenplay it’s important to understand the fundamentals of a good scene.

If you’re ever at a loss for ideas, or find that your scenes are falling flat, ask yourself a few questions:

1) Does the scene move your story forward?
Sometimes we get caught up in the back-story we’ve developed in our own minds and forget about moving our story forward. Not all scenes belong in your screen play. Of course this is a second edit suggestion. First drafts should always be an uncut flurry of everything your mind has to say. But when you are editing that second draft ask yourself: does this make the viewer want to see more, or is this just a bunch of information they can do without?

2) Have you made sure to show and not tell?
Although dialog is good, having your characters explain everything is not only boring, it’s unrealistic. Find visual ways of demonstrating your point. If your character says ‘I’m nervous when I’m around snakes,’ for no reason at all it can be very awkward to watch. Place you’re character in a situation where it can be demonstrated visually… pushed up against an aquarium full of snakes, let’s say, and she starts to shake or breathe hard. Coming up with visual interpretations of ideas is (at least for me) one of the best creative exercises. It gets you to visualize available possibilities, pulling you out of the verbal world we as writers so often get caught in.

3) Have you created conflict or tension for the audience?
A story is nothing without conflict. Even if the scene is not major there should be some sort of conflict, or tension. If not, the scene needs to go. At the very least there should be conflict with character’s behaviors, giving us enough subtext to keep our emotions on full alert. If the scene is two cops driving in a car, for example, they should be arguing about where to go, or how they should have handled a situation better. Sometimes we can even create tension without conflict. A perfect example would be anytime one character is giving the other character(s) instructions, or a motivational speech. This builds tension, in turn forcing the audience to pay attention while giving them a need to see if the characters follow through on what is being laid out.

Truly moving films are created through the use of brilliantly devised scenes. Each scene separately should be as important as the work in its entirety. Use of language and an understanding of character traits will help you develop even greater scenes and stories… but those are tips for another blog.

Good luck in 2012 and remember: great stories make remarkable movies.

(To read PART ONE of this series CLICK HERE)

Common films his new music video at AZ HQ with Zeus Zamani in the producer’s seat.

If you haven’t seen the new show on AMC called Hell On Wheels then it’s time to start watching. The show is beautifully filmed and the drama runs so thick that a butcher knife couldn’t cut through it. The best part is that one of my favorite rappers turned actor stars in it.

Common plays a supporting role as a hard-headed, newly-freed slave who is fighting to find his place and make his mark in a rough, racist and untamed American west. He also has a soft spot for the protagonist who turns out to be one of his only allies. The protagonist is on a mission for revenge (as usual). Now, I’m a big fan of westerns (at least the good ones), but not all people are. I think it’s a discomfort with rednecks that does it. But those prejudices are usually unwarranted because everyone loves a good Kung-Fu movie and all westerns have a kung-fu movie plot-line and plenty of action.

But I digress; Common has really out-done himself on this show and I implore you to watch it.

When I met him recently I instantly noticed how talented of an actor he really is. This was because when comparing his personality to the character he plays on TV you can tell that they are as different as pickles and candy.

Originally the video, produced by Zeus Zamani, was planned for a specific location, and I was bummed because I had a writing session scheduled with Ali Zamani the very same night and wouldn’t be able to go on location to watch. But the night I headed for the writing session at the Zamani mansion I noticed that the shoot had been relocated there. The place was crawling with people and equipment, and there in the middle of the dining room was Common getting his make-up done and listening intently to the director. Imagine my excitement!

I have to be honest with you, my dear reader. Of all the artists we’ve worked with (some good, some bad, some amazing) Common came off as the most down to earth. Which is a big feat considering his recent successes and media scrutiny, what with Obama inviting him to the White House and all. I mean, this guy’s picture was up on Fox News for three days straight as some sort of urban left-wing terrorist. I didn’t sit and talk with him for too long, but the way he handled himself with everyone including the crew exemplified him as an absolute gentleman.

Ludacris also made it to the shoot, but as soon as he and his entourage arrived it seemed they were already leaving. Needless to say, I didn’t get an impression of him at all. The only thing I can say is that he’s smaller than I thought he’d be.

The director and producer on this shoot had a lot to deal with. The amount of extras that were used in this video was innumerable from my vantage point, maybe forty…or was it eighty? Either way, getting that many people to shut up, go to where you want them to be while still directing the artists and crew is no simple task. I applaud them for their efforts.

After a few hours of filming, taking down and re-setting-up scenes we were finished with the video. If Common was tired or put off at all, he sure didn’t show it. He was still calm, smiling and talking to everyone as if it was a party. At that moment I said to myself ‘I must write to the AZ fans about him. Tell them the truth about this amazing man!’ Common is deserving of support, so stay tuned for the video (entitled “Celebrate” — click play below to hear it now!) and make sure to check him out Sunday nights on AMC’s Hell on Wheels.

Spec Script vs Shooting Script

Here’s an easy way to remember which kind of script to write when looking at your goals

In the movie-writing business, spec scripts are usually the scripts that are purchased and win contests and shooting scripts are what you hand your script supervisor and director of photography during filming.

Shooting Script

Shooting scripts are usually built after the concept has already been accepted and ready to go into production. You may ask yourself why it’s like this, or better yet what the difference is. To find the answer we first need to look at the format differences in these two types of scripts.

A shooting script comes with instructions for the camera. You will see terms like “Close Up” or “CU” and “truck right” or the world famous “fade in.”

Spec Script

A spec script should have nothing to do with instructing the reader where the camera should go. This should be all about giving the reader a great story using only visual language. That means instead of saying: “CU on her hands playing with a ball then throwing it into the air…” you would write: “Her hands caress the ball, feeling the nooks and crannies of its textured leather skin before tossing it up into the air…”

In this example, instead of giving camera instructions to do a close up, all I had to do was make the mind zoom in on what I was talking about. Writing this way also gets you to be more creative and descriptive. This intrigues the mind of the reader, holding their attention until they reach “The End”.

Why would you not turn in a shooting script to a contest, or when fishing it out for producers/actors, etc? Because shooting scripts read like instruction manuals!! And who wants to read a manual when they hunker down for a good read? No one, that’s who! Especially not in the entertainment industry. Think about it, the name of the industry says it all…ENTERTAINMENT!

Make your scripts entertaining and you will find success in your endeavors.

Good luck.

Check out some behind the scenes cell footage of the new Common video produced by Zeus Zamani

Editors note: This is a guest post by Richardine Bartee, and originally posted on the GC BUZZ blog. It is reprinted here with permission.

PDF: Artist Management and Sacrifices

That (above) was the official message that I sent out to many independent business persons and others to comment on. Whilst many who seemed interested did not respond, I have received many vital perspectives: from leading people in the industry and the aspiring. Since I can’t keep all of this inspiration and knowledge to myself, I’d like to share the most detailed perspectives with you.

Laying their garbles down: Media Liasion TastyKeish, GC Records and Pixelatique reps say their piece at the roundest table a[round]…

Sacrifices

Discuss a time when you or an artist you’ve encountered sacrificed something that they probably shouldn’t have.

TastyKeish: Most times that an artist sacrifices something they should not have is in advertising ie; fliers, posters, packaging. I’m ashamed to say that I have done it a few times and the result is never what I wanted. I would say make the investment get a graphic designer that you can be candid with about your needs and maybe you can reach a middle ground. Last thing you want to do is stiff the person who is about to design what becomes a persons first encounter with your brand.

How necessary is sacrifice?

TastyKeish: Sacrifice is always necessary. You can be rich and have all the resources in the world, so you may be sacrificing time with you family to make your dreams come true. What you want always comes at a cost no matter who you are.

What are your ongoing sacrifices?

TastyKeish: My ongoing sacrifices are getting proper sleep, compromising my health at times, and sometime not spending important occasions with my loved ones.

Is the topical ‘do-it-yourself wave’ comparable to industrialization?

TastyKeish: I do think our DIY wave is comparable to industrialization. Industrialization grew out of an economic need to produce more in dire times. For us in the new millenium, things are dire. To compete you have to show that you are valuable to people in more than one way. It’s not enough for me to be great at one thing. Now I have to be great at one thing and good at several complementary things to survive in the market.

Speak about the importance of a team. When are teams necessary?

TastyKeish: Teams are important when you feel you can’t do it alone anymore. when the workload is impossible. You will come to recognize people that are supporting players in your movement. They become people you call first, people that will help you in a pinch. People you trust. Those people fall into place as a team.

Discuss a time when you had to stay in your lane.

TastyKeish: When I realize that not matter what other things im good at there are some things I just can’t do. Those are the times I have to “stay in my lane”.

Artist Management

What makes a “good” manager a “good” manager?

Pixelatique: Well, the first thing that comes to mind is that he/she needs to be a good hard working person above all, meaning that he/she will be willing to put in hours and hours into the every aspect of the project so everyone from the label to the artists to even the fans are satisfied with the outcome.

GC Records: Adaptability and a balance between being all ego and being humble.

TastyKeish: A good manager knows that they are there to help alleviate some of the business pressures that plague an artist. The manager is there to let the artist be an artist and focus on the craft that pays them both. A good manager is not a “yes man”, they give advice and insight on business decisions and how they may or may not benefit the artist.

Are managers obligated to supply for their artist? If they are, list some of the things they are to supply.

Pixelatique: Of course they are, if not who is gonna get the artist his cocaine??? Kidding of course ! Hmmm, well we think it all depends on the manager himself and the relationship between them. He/she is not obligated to do so but if the situation calls for it – covering the clients basic needs such as money would be good and we presume very appreciated by the client.

GC Records: If they are, list some of the things they are to supply.
I’m sure it’s different with each and every manager-group relationship and set of contracts. There’s no set standard, if that’s what you want to know.

TastyKeish: (Can’t really speak on this question cause I’m not an artist. I’m not sure of their management needs)

Would you agree that it would be good for an artist to have known his or her manager – for some time – before beginning a business relationship?

Pixelatique: No one goes into business without at least checking someone out before the deal is made, so there has to be some sort of a relationship definitely before doing anything so serious like hiring someone to represent you. Trust is a hard thing to earn, that’s why many artist hire family members to do that sort of work, so that the artist doesn’t get damaged in the process.

GC Records: I agree that it would be good, but that not knowing the manager too long shouldn’t scare a band away from a manager either. Risk is what makes great artists succeed. And if the manager stinks, can them and start looking for a new one.

TastyKeish: Knowing your manager before you start business is good because you may have been building a relationship in which you have witnessed each others work style. Both parties can agree that it is something that want to get into fully. If you don’t know your manager personally beforehand- it helps to look at their client list and track record. If he/she knows how to get results for every one on their roster, the probability is high they will get results for you too. Either way, do your research and ask questions even if you know the person. Find someone specifically in tune with your needs.

Can an artist fire his or her management? If yes, when should one do so?

Pixelatique: We believe they can fire their management if the client/artist is not satisfied. Why would anyone continue a work relationship with someone who is not delivering the promised/expected?

GC Records: Again, this all goes back to the contracts and agreements set in stone before the relationship begins. It’s always nice to have clauses that protect both sides, in that the manager and the band can fire the other at any given time, should the request be submitted in writing with 60 days notice. Or whatever the terms would be so that both sides are happy. And if such a clause exists, then by all means, utilize it if the partnership is not a healthy one.

Usually, what is the manager’s relation to the artist’s record label?

Pixelatique: Middleman/Negotiator.

GC Records: For bedroom labels, the record label usually doubles as the manager. Haha. Once you start getting into larger and larger acts, the band manager is usually the one who handles all scheduling and decision making for the band’s live shows, tours, merchandising, PR, and sometimes even the social media aspects of the band. The label merely provides advertising, distribution and production.

For more about them, kindly click the individual’s name below:
GC Records
TastyKeish
Pixelatique

Print version available March 2012

Knowing what you want to achieve is the best way to target and triumph.

Everyone wants to go to Hollywood and work in the movies. But we all know there is more to it than moving to LA or just going to film school. Although those are definitely not bad ways to start that is really all they are; a start. But what is it that gets you where you want to go and how can you at very least make a career that pays the bills working in one of the most competitive fields in the world?

The answer is specialization and goals.

When you start your stint at film school or when you land that first production assistant/intern gig keep your eyes open for your strengths. The weaknesses will show themselves, and you should definitely work on them, but knowing your strengths is the most valuable thing to know in this business.

Start off with a more broad specialization: Production, effects, writing etc. Once you have decided on the path you want to follow and focus on you will once again be faced with strengths and weaknesses.

Let’s say you decide to get into production; now you need to see if you’re good with people, equipment, lighting etc. because this will enlighten you on whether or not you should focus on becoming a grip or a directors assistant.

Once you have found your strengths it’s time to focus on your resume and portfolio. In the beginning you won’t have much to show for yourself. This is why many people start off working pro-bono. Get good at doing whatever it is you are good at then show it off. When you feel good about your experience write out your resume and make sure to highlight those strengths you have been working so hard to hone.

Make a pitch video

This way you have something visual for your prospective employers to view. Again this should highlight specific areas you are strong in. The video should be no more 90-120 seconds because there is nothing worse than boring the pants off of a film executive.

Find a company to work for

When searching for jobs or studios in the industry you want to look up the numbers for the PR or Hiring departments. Once you get a hold of the right person set up a time to drop off a resume and video. Sometimes the best place to start is at a smaller company. This industry is, after all, almost 80% based on who you know; meeting people is the key to improving your station.

Set a goal

Submit to a certain amount of companies or projects per month, getting more experience before your next round of submissions, or even finding the next big project for your portfolio all takes planning. Flying by the seat of your pants is a guaranteed way to fail. If you see that you aren’t getting through adjust your goals or find ways to help you achieve what you want.

Get you’re plan and portfolio together, get out there and start meeting people, and work on projects you’ll be proud of, there’s no time to lose.

Good luck!