Preview Fred Spector's furniture collection for High Point Market


Watch as the owner of Frederic Spector Design Studio shows how he creates award-winning residential furniture. In this demonstration, livestreamed here on Tuesday, April 7 at 5:30 p.m. EDT from the SCAD Museum of Art Theater, Fred Spector takes you inside the design process of collections like Avalon, a bedroom suite to be shown along with his new dining collection in Casana Furniture's showroom at High Point Market (April 18-23). Furniture makers AAmerica and Ligna will also show bedroom collections by Frederic Spector Design Studio at the furniture industry’s largest trade show. The program coordinator for SCAD furniture design, Spector has also worked for Pottery Barn, Restoration Hardware, Williams-Sonoma and Anthropologie. This presentation is part of the School of Building Arts Lecture Series and is free and open to the public.

Who will Lululemon design for next?


The downward trend for Lululemon’s sales and reputation seemed to stall with its announcement of a line of pants tailored to the male anatomy. The yoga and activewear brand is likely considering additional strategies for reviving its business, and it just might find answers in case studies by students from Savannah College of Art and Design. Challenged by the Young Menswear Association to develop a new product or marketing tactic to help Lululemon regain its footing, these aspiring leaders of the fashion industry each won $5,000 YMA Fashion Scholarships for their ingenuity. Here are the consumers they believe Lululemon should target next.

The style conscious
Jessica Ferreira’s (B.F.A., fashion) solution is to tap the talent of emerging American designers to revive the struggling brand. In her plan, Lululemon partners with the Council of Fashion Designers of America to select designers who can bring luxury to the high-performance athletic gear, thereby attracting a new base of trend-savvy customers. For example, Jessica recommends the designers behind Proenza Schouler, who are known for their prints. Her sketches illustrate how graphic leaf prints could infuse a Lululemon capsule collection with overtones of Zen and nature.

The plus-sized
Annalise Lao (B.F.A., fashion) created ELEVATE, a high-end, exclusive division of Lululemon, to be offered in sizes four to 24. ELEVATE would integrate plus sizes into a regular line, with clothes designed to flatter the body using high energy prints and cuts that resonate with an urban customer base. In an attempt to reach the global traveler and the growing Asian market, ELEVATE would debut in American Airlines lounges across the United States and with its affiliates Cathay Pacific, Malaysia Airlines and Quantas.

The young
Lindsay Cousins (B.F.A., fashion) chose to target new blood. Her brand extension for Lululemon, Urban Spirit, would appeal to a younger customer base. She designed a collection of yoga garments for this modern customer that would be functional for athletes of all kinds and incorporate performance enhancing materials.

The millenial male
Lulu Warrior is Daniela McIntire’s (B.F.A., fashion marketing and management) answer to the question: "How can Lululemon take a bite out of the big dogs Nike and Adidas?" The menswear concept is geared toward the male customer, ages 18 to 35, who enjoys rock climbing in Norway, zip lining in the Puerto Rican rain forest, and skateboarding in Santa Monica, California. A partnership with retailers like Patagonia and REI would further enable Lululemon to capture these discerning and adventurous sports enthusiasts.

The swimmer
Shaina Levin (B.F.A., fashion marketing and management) noticed that Lululemon was ‘landlocked’ in its approach to personal fitness. To build on the brand’s commitment to the well being of its loyal followers, and recognize the many activities that encompass the lifestyles of modern women, she developed Amphibian. Her collection of exclusive swimwear revolves around a concern for sustainability and the values of the Lululemon brand.

The environmentalist
Nikolas Hakanson (B.F.A., fashion marketing and management) created the Green collection, incorporating sustainability into all aspects of the activewear. From fabrics to styling, and production across the supply chain, this concept would allow Lululemon to position itself as a leader in sustainability.

The androgynous
S / He by Vicky Ma (B.F.A., fashion and fashion marketing and management) incorporates unisex styling and versatile fabrics as a way to tap the trend toward androgyny, while also empowering Lululemon to expand their current level of business with men.

If a lack of inclusivity bedeviled Lululemon in the past then, taken together, these fresh ideas should have the brand covered. 

Hero image courtesy of Neil Hieatt (M.A., advertising, 2011).

Bienenstock Furniture Library: these chairs have our attention


When was the last time you felt loved by your chair? It’s a rare expectation from our furniture, but it’s possible. That's because good designers can imbue inanimate objects with human characteristics. The Honest Chair by Eny Parker, winner of the 2015 Bienenstock Furniture and Interior Design Competition, illustrates how this dynamic is achieved with something that we use every day, but rarely notice.

As designers, we should not only appreciate materials, but push their natural characteristics to become something unimaginable. - Eny Parker

The body-embracing curves of The Honest Chair, the first prototype that Eny has manufactured as a graduate student in furniture design at Savannah College of Art and Design, are hard won. Its simplicity masks the difficulty of crafting a compound curve, a wood bending technique requiring the maker to bend Italian plywood in two different directions - one along the grain and the other against it. 

Many cracked sheets of plywood later and the Frank Gehry-inspired chair was born. Here’s how Eny made it:

"The start of my process included sketches made in conjunction with paper models. Design No. 4 was chosen for further development."

"Due to its organic form, shaping the prototype mold by hand was the best approach. I traced the elevations to establish the shape and then cut the foam to its profile using an electric wire, which took many hours."


A video posted by @enyleeparker on


"Because the bending ply prefers to bend in one direction, pre-steaming was necessary for the compound curve. This was done several times until I found the desirable radius. After several attempts, which included some cracking, an acceptable form emerged. Six layers of bending ply were successfully used for the prototype. After steaming each layer, the pieces were left to dry for the gluing process in the vacuum bag with the mold."

"The chair was then trimmed to the right shape and height. Biscuits were added to create a flush seam between both shapes, while two stainless steel Chicago screws were added on the slim area where the legs meet for support."

The Bienenstock Furniture Library will award Eny a $5,000 scholarship at the High Point Market in April. Eny has a background in interior design, like fellow SCAD graduate student Christian Dunbar, a finalist in the 2015 competition.

Christian’s Arcal Chair is a salute to designer Milo Baughman. His visit to the Thayer Coggin plant during the High Point Market in October inspired the mid-century modern piece. "During the factory tour, I saw a few unfinished chair backs with slots removed from the backs," said Christian. "I thought it would be interesting to design a piece that celebrates slots like those."

These emerging designers will make sure we take our seats more seriously.

2015 CFDA/Teen Vogue Scholar targets the wild side of streetwear


Awarded the 2015 Council of Fashion Designers of America (CFDA)/Teen Vogue Scholarship, the collection of streetwear designed by Savannah College of Art and Design sophomore Sang Lim Lee exists somewhere between urban Korea and the untamed Serengeti.

The men’s line evokes the vibrant color, textures and details of the streetwear that Sang grew up seeing in Seoul, and was inspired by a documentary she watched on the Serengeti.

Majestic desert views gave her the idea to stylize the patterns in the desert animals’ coats. The results are youthful prints that are lighter than classic animal patterns and, as applied to Sang’s garments, create streetwear suited for performance and style.

I like the wildness of the Serengeti. It’s kind of like a man’s life. – Sang Lim Lee

It wasn’t just the aesthetics of the environment that informed her design, but the ranges in desert climate. So Sang chose synthetic materials over natural fabrics to provide suitable protection from the elements: cold, hot, rain, sun. Fabric, says Sang, is something that distinguishes Korean fashion from American fashion.

Koreans really focus on details, fabrication and the texture of clothes. I went to a lot of Korean fabric stores, which inspired the look behind my collection. I think that fabric is as important to fashion as silhouette.  - Sang Lim Lee

Ultimately, Sang wants to be a designer who is relevant in both Korean and American markets. One of her biggest influences is designer Choi Bum Suk, whom she admires for overcoming humble beginnings to prevail in Korea’s fashion industry, while establishing a studio in New York. "It’s hard to come to the U.S., but he did it. He didn’t give up," said Sang.

Being mentored by Choi Bum Suk in Seoul and then reuniting with him in the U.S. were key moments in Sang’s developing fashion career, the origins of which took place in the shadows of silk screening machines. She was greatly influenced by her family’s silk screening business and their expertise matching color, graphics and fabric.

Another milestone for Sang was leaving South Korea to study fashion at SCAD, which led to the $25,000 CFDA/Teen Vogue Scholarship and becoming a Target Fashion Scholar. The honor carries a host of opportunities for exposure, starting with a spring break adventure to visit Target’s design team in Minneapolis.

It’s a great start for Sang, who endeavors to learn more about American fashion. But maybe in the process of absorbing the intricacies of a major brand, Sang’s penchant for combining texture and multiple fabrics will rub off on the established designers who teach her.

6Chix college improv troupe: ‘We’re just as funny.’


How does an improv comedy troupe warm up? There’s laughter, as one might expect. But, in the case of 6Chix, there’s also a dance party, spurred on by some of the best female empowerment anthems of all time.

The anthems are working. 6Chix is the first all-female troupe to ever compete in the College Improv Tournament National Championship (March 14). In addition to Aretha Franklin, Bonnie Tyler and Beyoncé, 6Chix has a cheerleader in David Storck, the troupe’s coach and professor at Savannah College of Art and Design, which sent three teams to the finals of regional college improv competitions this year. 

David was trained by improv maven Amy Poehler at Upright Citizens Brigade. He took her class three times in order to master the techniques of improv comedy, and then ran Gotham City Improv. Now he teaches performing arts students like the members of 6Chix: Rebecca Huey, Lucy Groeber, Gabrielle Hespe, Sawyer Greenberg, Caroline Huey and Emily Updegraff.

According to David, the tools of improv comedy are more essential than ever to film and television.

Hollywood has finally figured out how to use improv and it’s taking off. – David Storck

At their final rehearsal before departing for nationals, David picks two topics for 6Chix’s next warm-up: brunch and flowers. Gabrielle sits between Caroline and Emily, holding simultaneous conversations about each topic. The exercise keeps the players agile and improves their focus and ability to listen. It also keeps them chuckling, but these games build serious skills.

Improv artists are now highly sought after for writing and acting jobs in the entertainment industry, yet most colleges only teach a traditional approach to performing arts. So college thespians possessing well-honed improv skills are as rare as breakthrough female comedians. Indeed, the members of 6Chix had not experienced the benefits of improv until they came to SCAD.

The 6Chix are in a position to possibly be trailblazers and pioneers from the college world for women in comedy. – David Storck

The 6Chix want to be known first and foremost for their craft, and emphasize that forming an all-female troupe was more a matter of availability rather than a decision to exclude men. But they cite the success of talents like Amy Poehler, Tina Fey, Kristin Wiig and Maya Rudolph, which encourages them to challenge the notion that women aren’t as funny as men.

Watching where Amy Poehler was a couple of years ago, and knowing where she has been, it’s amazing to see she still kept with it. She stuck in there and kept driving forward and now they’ve all opened this great door for us. – Caroline Huey

Though recently formed in fall of 2014, 6Chix will disband after nationals. Three of the members, including Lucy Groeber, who will spend her final quarter in an internship with The Groundlings, will graduate this spring. Regardless of where they land, it’s certain their connection, forged through the power of saying "yes" to improv and one another, will remain strong.

Watch 6Chix perform in the College Improv Tournament via livestream at 5 p.m. EDT on Saturday, March 14.

Lessons from ‘The Breakfast Club’ with executive producer Andy Meyer


“Can I tell you the story of The Breakfast Club?”

When one of two surviving members of the creative team behind The Breakfast Club offers to tell you how the enduring teen flick got made it’s not an offer you refuse, especially on the eve of the movie’s re-release in over 400 theaters this month for its 30th anniversary.

Maybe it’s the band Simple Minds pleading “don’t you forget about me” during the open and close, but something about the movie just stays with you. I was 9 when The Breakfast Club opened, but at least twice a year I think about Ally Sheedy shaking dandruff over her desk. It’s one of many scenes that grabbed me and it captures what the 1980s classic is all about: ‘It’s ok to be different.’

By setting up stereotypes embodied by actors like Molly Ringwald and Emilio Estevez, and then deconstructing them in the setting of an all-day high school detention session, director John Hughes broadcasts a message of acceptance to teens long before #stayweird.

The art student could have a place at the Breakfast table with the rest of the movie’s archetypes — the criminal, the basket case, the brain, the princess, the athlete — which is why it’s ironic that for 10 years executive producer Andy Meyer has been using the script to teach screenwriting at Savannah College of Art and Design, down the road from where he produced another little movie called Fried Green Tomatoes. He also produced Better Off Dead, which celebrated its 30th anniversary in February.

Then the president of the newly formed A&M Films, Meyer landed on Hughes’ doorstep in Chicago after reading his script National Lampoon’s Vacation.

I said, 'That’s a really funny script, do you have anything else?' He said, ‘Well I do, but there’s a problem, because I have to direct it.’ Red flags are going off in my head, because I don’t know if he knew which end of a camera to use. – Andy Meyer

Andy Meyer: I went back to my hotel room and read The Breakfast Club. I said, 'This is amazing.' I called the guys in LA and said, ‘We should buy it and make it for one million dollars, low budget.’

SCAD: As the story goes, Universal entered the picture and gave A&M $12 million to make the film. Now, 30 year’s later, the movie is set to open again. What’s behind the re-release?

AM: Breakfast Club is one of the most iconic films of all time. There are still Breakfast Club parties and wardrobe sightings and the music still plays on the radio and in clubs.

It has never quite left the culture, so bringing it back after 30 years was a pretty easy decision to make. – Andy Meyer

SCAD: What was it like on the set of the film?

AM: The picture was the easiest picture I ever made because everybody went to work at the same place (the entire movie takes place in a library that Universal built in an old high school gym). The best people in the business were around John and the actors. We had them in a hotel for about two weeks prior to shooting and they were all together, so by the time they got to the set it was like they were in high school together. They finished each other’s sentences. It was fantastic.

SCAD: What scenes were left, or almost left, on the cutting room floor?

Universal was really nervous about the 12-minute talking head scene where the kids sit on the floor and reveal why they’re in detention. – Andy Meyer

AM: It was a more serious film than studios were used to and they didn’t know if kids would like it. So we said, ‘Test it, see what happens.’ The audience liked that scene the most, so we didn’t have to reshoot. That’s why I think it has lasted all these years. It has all these levels to it and kids can all relate to it, being the stereotypes that they are.

SCAD: Whose character do your students identify most with?

AM: When the movie came out the most popular kid was Judd Nelson, the bad boy. Now, I would bet that Anthony Michael Hall is the most popular kid. The nerds rule, basically. There is a cartoon going around that if The Breakfast Club were made today they’d just be tweeting at each other instead of talking because we are a digitally connected society. Anthony Michael Hall’s character is closer to that than the tough guy.

SCAD: Do any contemporary teen flicks measure up?

AM: I think it’s safe to say that there still isn’t another filmmaker who understood teenagers like John Hughes. If you look at all his movies and the theme of kids against their parents, I have never seen another filmmaker who relates to them better than John. He consistently got into the skin of the kids with Ferris Bueller’s Day Off, Pretty in Pink and Sixteen Candles. When he was hot, he was hot.

Andy still works on film and television projects while teaching at SCAD, but his next great production might be the young filmmaker in class whose voice and vision deliver something as original as The Breakfast Club. Meyer will join Ringwald and Sheedy at SXSW’s premiere of the remastered version on March 16.

Dirtbags dig up composting love in Detroit


Trust us, you’ll want to know this dirtbag. In this case, the dirtbag isn’t a person but a campaign designed by students Rebecca Antonucci (B.F.A., advertising, senior) and Stefanie Gomez (B.F.A., advertising, senior) to increase awareness and adoption of composting in Detroit. The Dirtbag Project is their answer to this challenge posed by advertising agency Team Detroit: create a ‘trashvertising’ campaign to boost urban farming and compost supply. Rebecca and Stefanie are one team of three finalists who will pitch their project at SXSW in hopes of actually getting it made. Vote here by March 13 to help get their dirtbags to Detroit.

SCAD: Give us the fast version of the pitch you’ll make at SXSW?

Rebecca Antonucci: Using the paper bag as a medium really has potential to be adopted by Detroit because it doesn’t complicate things, but rather just puts something people already use to a better use. The bag allows us to put all the composting info they need directly into the hands of the target audience. Most grocery stores already have this option, so all we would need to do would be to replace their existing bags with the dirtbags.

S: The word dirtbag conjures all manner of images. Is there an association there that you believed would draw a reaction?

RA: We got pretty lucky with the dirtbag concept. As the copywriter, I loved the idea of using the word to get people’s attention and create an irony in having people with a negative connotation do something positive for the world. Stefanie, the art director, came up with using compostable brown bags as our media, and to put all the info someone needs in order to compost right there on the bag. It allowed us to pair attitude and intrigue with a solid, simple, and doable idea.

S: It really is such a simple idea. Did it start that way? How did you winnow it down to this?

RA: It did not start there, but we knew we had to do something simple since the brief required it. We researched, talked to urban farmers, and constantly asked ourselves, ‘How can we make something different?’ We wanted to find a media that hadn’t really been used to promote composting, but that didn’t drastically change our target’s daily routine. Then, when we both had our dirtbag ideas, it just clicked.

Professor of design for sustainability Scott Boylston: 

The Dirtbag Project is effective because it's fun, easy, informative, engaging, and viral. This is a great example of design's power to help us all lead more sustainable lives. - Scott Boylston

S: What advertising trends did you tap into to come up with the creative?

RA: We tapped into satirical work, like Droga5’s Newcastle campaigns, "Dumb Ways To Die", and "The Onion." We also found examples of agencies using things like grocery receipts in new ways to help us find a new media to use for the campaign.

S: What are some of your favorite cause marketing campaigns and what have you learned from them?

Stefanie Gomez: "Dumb Ways To Die." It’s just a funny way to talk about train safety. Instead of saying 'STAY BEHIND THE YELLOW LINE', they said, 'It’s just as dumb as poking a toaster with a fork.' Even though I don’t live in Australia, after seeing that, I pledged to be safe around trains.

RA: I really enjoy Chipotle’s "Cultivate a Better World" campaign. Sometimes it’s easy to take an emotional route with a cause campaign and kind of hit the target in the gut, but I feel like this campaign gets an emotional concept across in a way that actually makes a statement. It’s not just meant to make you tear up, but to change your habits for a better purpose, and you want to after watching the spots.

S: What did you notice, good or bad, about other composting campaigns out there?

RA: One, there aren’t many. Two, most involve a lot of statistics used to “scare” us into composting. Three, they seem to cater to people who already take actions similar to composting, rather than going after people who don’t consider it at all.

Maybe the tone of their campaign is rubbing off on us, but we feel pretty confident that Stefanie and Rebecca 'have this one in the bag.'

My Big Brother producer nets big honor at Annie Awards


Some of the best advice we’ve heard for future filmmakers is that if you want to direct, start directing. Jason Rayner (B.F.A., animation, 2014) and his animated short, My Big Brother, about a boy sharing a room with his twenty-foot tall sibling, are proof that you don’t have to wait until you graduate to begin your best work. Jason produced and directed My Big Brother, winner of the 42nd annual Annie Award for Best Student Film, while studying animation at Savannah College of Art and Design. The film debuted in Cartoon Brew's Student Animation Festival and recently screened at aTVfest in Atlanta. The Pennsylvania native spoke to us from San Francisco, where he has worked as an animator and illustrator since completing the film in May 2014.

SCAD: What does winning the Annie Award mean to your career?

Jason Rayner: The Annie Awards were a fun, great experience. It meant a lot to me, as I’m being introduced into the animation industry. To be in the presence of such great talent and with animation leaders was so significant. Receiving the award made me feel like I was truly welcomed into the industry.

SCAD: How will it affect your future work?

JR: It was a motivating experience, definitely raised the standards I set for myself, and encouraged me to work more. I am hoping it will be a boost to my confidence.

S: What was the inspiration for the film?

JR: I grew up with two older brothers, and I tend to think about the past a lot. I immediately thought about what my family meant to me and growing up. My artistic inspiration was Ronald Daul’s book, BFG, and I love the dynamic of the characters. I reflected about what my artistic voice would be, dreaming about the future while thinking about the past. I wanted to create a character that I could relate to. I gave the little brother the personality of being in the background at times and coming to a point where he had to accept his life with a “big” brother."

S: How did you combine fantasy and reality into a coherent storyline?

JR: Since this was my first time writing, I talked to professors quite a bit about it. I am fascinated with the idea of a story that has one premise and then the rest of the story is true, with no questions asked. I then asked myself, “How does that one premise change his life, and how does it connect with a real person’s life and how it's relatable?” I was trying not to make the big brother a metaphor for something else, though it can be interpreted differently, depending on the viewer’s perspective.

S: Did you encounter any unexpected challenges?

JR: I didn’t expect that writing a story would be so hard. I had a lot of help with it from my friends and professors who helped me work on the structure and narrative of the story. I couldn’t believe how long animation takes. The short film project took three quarters of the year, which included the initial writing over the summer. Students all gathered together twice a quarter to present their progress on the project and we also received faculty and peer feedback.

S: What are some of your top lessons learned from the project?

JR: Not to stress about the project result, but to make the process enjoyable. Also that I couldn’t do it all alone. The support I received on lighting and music were a huge help. I found it hard to ask people to work for me, especially for free. I also had to be able to be gracious and understanding with people.

S: Which SCAD courses helped prepare you to make this film?

JR: I enjoyed taking an etching class, which got me away from the computer. I also liked the humor writing class and poetry classes. The concepts class, taught by Louis Cook, a requirement for all animation majors, was extremely helpful, as were the character animation courses. Those were crucial to my development.

S: You used the animation software Blender to make this project. How and when did you learn it?

JR: I was 11-years-old when I starting learning Blender. It was a long, slow-moving process. A lady at church who was an animator gave me a CD with Blender on it. I had just started using computers, so I initially tried to make games with the program. I experimented with it throughout high school, using it as a hobby. Blender has a great online community for learning through its forum posts and tutorials.

S: Are you still using Blender?

JR: Yes, I use it mostly for modeling, and it’s still the program that I’m most comfortable with. Because it’s an open-source program, it has an awesome set of features that continue to grow.

S: What are you working on now?

JR: I am currently a freelance project-based animator in San Francisco working on an encyclopedia picture studio. This project includes working with group of directors on music videos and a virtual realty film. I'm also working for two directors on musician Panda Bear's interactive music project.

S: What direction do you see your career taking?

JR: I really enjoy the place I’m at now, where everyone is able to speak in their own artistic voice. I’m part of a team of 10 people, and I work with one person in particular who was a big influencer on the style for My Big Brother. It’s hard to believe that now I’m working with him. I really like that I’m on a pioneering track of embracing all forms of media, such as using different mixing techniques on the Panda Bear music videos.

SCAD in and on TV


Whether on the screen or behind it, above the line or below it, Savannah College of Art and Design alumni are making their mark on television. In honor of aTVfest (Feb. 5 – 7), we scoured our research to show you where. As producers, post supervisors, actors, DPs, art directors, visual effects artists, writers, and more, SCAD alumni are employed by the networks, or productions by the networks, on the map below. Just a snap shot, so that next time you’re watching Game of Thrones, for example, you can say, “Hey, a fellow SCAD grad did that.”

Here’s what a few current students are up to. They screened their projects at the aTVfest Student Showcase, a juried show of assignments completed for visual effects, motion media, TV production and animation classes.

Drag it Out of Me
Brad Schweninger (B.A., TV producing, junior), Producer and Director of Photography

“This documentary short, exploring the drag scene in Atlanta through the eyes of Steven Glen Diehl AKA ‘Biqtch Puddin', was for a field production class. Drag it Out of Me highlights Steven's return to drag after being diagnosed with a rare heart condition. This project represents my interest in being both a producer and director of photography. I want to utilize the skills I learned in the photography department at SCAD and translate them to video production.”

Thread: What do you watch?

Brad: True Detective. I love the cinematic look and editing, absolutely amazing. Plus, who doesn't love Woody and McConaughey?

Man on the Move
David Kim (B.A., TV producing, freshman) Director of Photography

“A professional skate boarder by the name of Preston Pollard shares his story about what he does, what keeps him on the move, and why he loves suiting up. The short film was shown at and represents my creativity and passion for the world of television. People view television differently because of the lack of control and creativity, compared to film. Through my camera shots, I want show that TV is still a creative job and contribute my unique style.”

Thread: What’s your dream job?

David: To work for National Geographic or Discovery. I want to travel the world and film life events that people normally do not get to see. 

Thread: What do you watch?

David: Frozen Planet, Life, Storm Chasers. These shows inspire me because the effort and time spent filming these animals or storms are incredible. It’s amazing how we get to just simply turn on our TVs or computers to watch something so incredible. By watching these shows I try my best to imitate the shots they get and put my own pieces together.

Upstream Color
Reggie Harrison (M.F.A., advertising, candidate), Cinematography, Editing, Title Design and Color Grading

Music: “That You Would” by Dear Euphoria

"Upstream Color is a science fiction film revolving around a man and a woman whose lives mysteriously become drawn together. The project was completed for the graduate course, Motion Media Cinematography and Editing. The assignment was to re-design the opening titles for the film and defend why the creative direction was taken. My approach for the opening film title sequence was to capture the parasitic aspect of the man and woman’s relationship. I believe in smart storytelling which, to me, means having both a perspective and a curated delivery. This work demonstrates my ability to craft a project that, when given creative freedom, still maintains the integrity of "the ask”; a dynamic that will bode well in the demanding environment of broadcast television."

Thread: What's your dream job?

Reggie: I would like to lead the creative direction of a company’s video production efforts - either as a director or a hands-on executive producer. Those roles allow me to identify an audience and use my talents deliver a message that will resonate well with them.

Thread: What do you watch?

Reggie: I enjoy watching films (independent and mainstream) and shows where the cinematography lends itself almost as a character on its own. Shows like Game of Thrones, Gotham, and True Detective have amazing visuals and shooting techniques that definitely inspire me. Well-executed cinematography generally helps me suspend my disbelief, which makes me that much more invested in the story. That’s an effective tactic and, as an advertising major, strategy is an area where I’m most fluent.

Stay tuned to see where Brad, David and Reggie land on the map.

TV set as classroom and other reasons to get into television


The resurgence of TV is attracting a new generation of talent. Students are increasingly interested in jobs for the small screen, whether they are above or below the line. I tell them it’s a great time to get in, and that chances are good they’ll one day work for the same shows they binge watch. It seems that people used to get into the business because they were well connected, starry eyed, or gluttons for rejection. But the reasons why TV is a great career to shoot for are now better than ever. Here’s a few:

1.) There are more shows than there are staff to produce them.
When I was starting, jobs were scarce, and they were mostly limited to network. Not so today. For example, there are more than 60 network and cable TV shows and films now shooting in New York. This past summer there were 80. In Atlanta, there were 158 film and TV projects shot in 2014 alone, with frequent reports of new productions opening shop. Attached to each of these productions are a myriad of roles and responsibilities that show runners need to fill.

2.) You don’t have to move to New York or Los Angeles.
Seventy five percent of my graduate class moved to LA or New York for work. Now I tell my students to go wherever they have contacts, especially Atlanta, where the opportunities are equal to those in New York and LA. There are big incentives for shows to hire locally, and tax credits aren’t the only ones. I like to hire local crews because they know the area, are well connected and help a show run efficiently. If you build the labor force, the productions will come. Banking on this trend, I recently changed my DGA residency to Savannah believing that more production work will come to the city as the talent pool grows.

3.) New talent can grow with new platforms and content.
Viewers have an appetite for fresh content and for new ways to consume it. With original productions streaming on the likes of Amazon, and cable networks increasingly supplementing unscripted content with scripted, new talent can get in on the ground level of new shows with new forms of distribution and grow with them. Ratings buster Empire or Golden Globe-winning Transparent anyone?

4.) TV teaches on the job.
TV is still an industry that’s willing to teach on the job. We bring in students with little experience, train them in the strange and technical nuances of our business, and hire the promising ones. I placed recent SCAD grad Gabe Gilden as an intern on a Comedy Central pilot. That internship turned into a job as a set PA on Broad City.  Now he’s in the process of joining the DGA Trainee Program. To get there, Gabe had to experience a set and learn what the other 100 crew members do. The beauty is that because he was taught that way, one day Gabe will create opportunities for students, too, and keep the pipeline going.

TV will thrive with a well-trained work force, which will result by expanding pathways between the classroom and the set. The sooner students know what they want to do, the sooner faculty can train them and place them on shows for course credit and real world experience. Such is the case of senior Allie Schultz who, beginning in sophomore year, spent early morning classes repeatedly setting up and breaking down tripods. Her active interest in cinematography landed her at the top of the list we handed the The Walking Dead when producers called SCAD for interns. Later on set, when a camera op threw her the sticks, of course Allie put them up rapidly and evenly, much to the surprise and delight of the harried crew. There are dozens more like her ready to be tested; ready to show the industry that its future is in good hands. And with job prospects looking better than ever, their ranks will grow, starry eyed and business-minded.

Megan Lombardo is an adjunct professor of film and television at Savannah College of Art and Design. Her credits as 1st and 2nd AD include Broad City, airing on Comedy Central, MTV’s Eye Candy, Fox’s Glee and HBO’s VEEP. She holds an M.F.A. in film and television from SCAD.