The Last
Artifact
Proposal for Funding Opportunity:
2016-NIST-KG-01
Submitted by
Milkhaus,LLC
3059 Vine Street
Denver CO 80205
On September 26, 2016
Contact
Cathy Trekloff
[email protected]
303-917-5738
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Photo Credit: AFP/Getty Images
You can only make as well as
you can measure
Joseph Whitworth
Victorian era engineer - England
Decades in the making, with tens of thousands of
hours devoted to theory and experimentation, the
quest to redefine the kilogram is the adventure of a
lifetime for teams of top scientists across the globe.
Their advancements will profoundly impact the world
in every way - from our prescription medicines to the
world of technology.
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The Last Artifact
The PREMISE
Precision measurement is not something that the average layperson thinks a lot about. However, being able to
accurately describe our world is fundamental to modern science and technology. The kilogram is the last SI
unit to be defined in terms of physical forces; when it has been redefined, we will have a comprehensive system
of measurement that is directly tied to the fundamental forces of the universe - our measurements will come
directly from the laws of physics.
In 1967, the second was redefined. Previously, it had been based on the solar day; however, the solar day is
slightly variable and did not give an acceptable level of accuracy. The second was redefined in terms of the
oscillation of Caesium-133 atoms - the same material used in atomic clocks, and an absolutely rigid basis for
time that could be applied anywhere in the universe. The 1967 redefinition of the second paved the way for a
number of new technologies that required extremely accurate calibration of time. These included GPS and the
global internet.
The advantage of linking mass to a physical constant - Planck’s constant - is that we can use exactly the same
scale to weigh anything in the Universe, whether it is an atom or a black hole or anything in between. Einstein’s
famous equation, E=mc2, shows that matter and energy are linked - in fact, matter can be described as ‘frozen’
energy. Planck’s equation, E=h𝜈, demonstrates that the energy in a particle is linked to its frequency of vibration
(𝜈) and Planck’s constant (h). From these two equations, we can see that energy and Planck’s Constant are
interlinked with mass. This creates a precise link between the world of objects that we can see and touch, and
the nebulous and frequently bizarre world of quantum physics.
What benefits will come from the redefinition of the kilogram? The main advantage is that the new standard
will be truly global. Things measured in the USA, Europe, Japan and across the world will be qualified precisely
to the same absolute standard. Additionally, researchers into areas such as pharmaceuticals and nanotechnology
will immediately benefit. Our current system has a level of uncertainty at the sub-milligram level that is
concerning to scientists developing low-dose drug therapies. In materials science, precision doping of materials
(for example in the creation of semiconductors) requires precision measurement. Chemists will benefit greatly
from the increased accuracy of Avogadro’s constant. As our technologies get smaller and lighter, we need
more and more accurate systems for measuring them. However, as in the redefinition of the second, we can
expect that some of the benefits will be quite unexpected, and will almost certainly lead to new and surprising
innovations.
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The Last Artifact
APPROACH
The primary narrative of the film will be constructed around a select group of characters
involved in work being done to prepare for the unveiling of the new kilogram standard. These
scenes will not only introduce us to researchers, scientists, and engineers, but portray them
as real people with unique interests and aspirations. We will see them at work, at play, and
interacting with each other. All while building anticipation towards the moment of the unveiling.
The film will begin in Sèvres, France with the international prototype, where we will start the
discussion about the role of the IPK and the need for the redefinition.
Examples of interviews from other Milkhaus documentaries.
We will then begin following the work being done to prepare the final measurement approaches
for the unveiling of the new standard. Our characters will also be recapping work completed at
this point including the impetus for the standard change and early approaches. Those stories will
take us on location to the laboratories of NRC, NIST, and NPL to discuss the Watt Balance, and
also to NMIJ/AIST and PTB labs to discuss the Avogadro constant.
Interspersed throughout those scenes we will visit with science historians who will explain the
role and benefits of precision measurement through the course of human civilization.
Selected shots from a stylized recreation telling the story of Alfred Hitchcock selecting the appropriate melon
for the stabbing sound effect in Psycho’s shower scene (from the upcoming documentary 78/52).
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THE LAST ARTIFACT
APPROACH
Photo Credit: CSIRO
Photo Credit: Robert Rathe
Photo Credit: NPL
We will talk to research scientists about the implications of a more precise standard of the
kilogram, and how revisions in the standards for the second and meter have changed the course
of technology. And finally we will discuss with technical experts from various industries about
how previous SI revisions have revolutionized their respective industry and the potential yet to
be unlocked with the impending revision of the kilogram.
In the final act of the film, as our characters converge for the unveiling of the new standard,
we will reflect on the power of the moment, not just what it means for science and industry,
but also what it represents for humanity; this one area of the modern civilization where people
from various cultures and societies from all over the world can work together with common
understanding and purpose.
The film will be shot in 4K resolution. The story will be told through formal interviews
combined with observational moments. Whenever possible information will be conveyed
through action in the camera. The editing style will be energetic, interviews will be cut from
multiple angles to punctuate key moments. Each interview will have its own distinctive look
to help visually differentiate the various characters and reflect either some aspect of their
personality or the work that they do. Observational moments will be shot mostly handheld,
when possible with multiple cameras simultaneously, and with the camera moving through
spaces and around subjects as much as possible.
Various scene establishing shots from Milkhaus projects.
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The Last Artifact
APPROACH
other samples here
Various detail shots from Milkhaus projects.
Drones, sliders, and handheld stabilizers will be used to create motion within the frame.
Technical information will be visually illustrated with animation. Historical information will be
illustrated with select archival film and photos, as well as intimate, stylized recreations of people
manipulating historical tools and standards of measurement to demonstrate advances in the
technology.
Music for the film will be contemporary, while exploring influences from the various cultures
that our characters represent. We will use music to create themes for our major storylines, to
add energy to sequences where we are discussing the work of scientists and engineers, and to
add a contemplative feel to moments where we are discussing the impacts of the kilogram and
other SI measurements.
Reference Credit: Ryan Woodward
Animations throughout the film will communicate visually that our understanding of the
world expands as we evolve our ability to measure. Our animations will begin with a more
rudimentary style when discussing antiquated measurement techniques, as the science
progresses through the ages, so does our animation, becoming more refined and dynamic.
Animations early in the film will be rendered using simple geometric shapes and strong
silhouettes, visually we will be just coming out of the dark.
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The Last Artifact
APPROACH
All aspects of the animation will evolve as the film progresses, shapes will become more refined,
light and color will become richer, the world around the animation will get brighter, the motion of
objects will become more fluid until we reach the final animations. These will be presented in a clean
modern style with objects traveling in grand sweeping motions and a bright color pallette overall.
Concept Art Credit: Brett Purmal
Concept Art Credit: Brett Purmal
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qualifications
Video samples for personnel and production
company are available at:
www.lastartifact.com
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The Last Artifact
Production company
Milkhaus is a Denver based production and post house that specializes in world-class socially relevant documentary
storytelling. Since our inception in 2005, we have created films and programming that inspire, educate, and
entertain audiences across the globe. Our work has been viewed in almost 200 countries, including the following
venues:
Films are no small undertaking, and large scale collaboration is a key to success. Milkhaus works with leading
documentarians in the industry, to spearhead or bolster films. Our role primarily in production and post is to
find the story, develop the story arc, and carefully craft the narrative in a way that resonates with audiences. We
pride ourselves for being skilled raconteurs, blending thoughtful dynamic imagery with stories that are timeless.
SELECT PROJECT HIGHLIGHTS:
- Our in-house documentary “Saving Face” for HBO exposed the horrors of acid attacks in Pakistan and won
an Academy Award® in the Documentary Short Subject category, an International Documentary Award (IDA),
and the Juliane Barthel Award for Journalism in 2012.
- Our Co-Production, “A Lego Brickumentary” is the officially endorsed documentary on Legos and Lego
fandom. The film, narrated by Justin Batemen, screened theatrically nationwide and was listed on Entertainment
Weekly’s list of “Must See Docs”.
- Our Co-Production, “78/52” exploring Alfred Hitchcock’s groundbreaking shower scene in “Psycho” is
currently in production. The film includes original interviews with Hollywood legends such as: Jamie Lee Curtis,
Elijah Wood, Guillermo Del Toro, Danny Elfman, and more. The film will be released in 2017.
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The Last Artifact
Project AWARDS
Academy AwardS®
National Emmy AwardS®
Academy Award® Winner
Best Documentary Short (2012)
Saving Face
National Emmy Award®
Best Documentary &
Outstanding Editing in a Documentary (2013)
Saving Face
Academy Award® Nominee
Best Documentary Short (2009)
The Last Campaign of Governor
Booth Gardner
Academy Award® Short-list
Best Documentary (2015)
Keep On Keepin’ On
Best Documentary (2013)
Chasing Ice
Best Documentary (2008)
They Killed Sister Dorothy
TELLY AWARDS
Silver Telly (highest honor)
Use of Animation (2012)
Art Direction
Francis and Paul
Editing (2006)
T-Mobile: All In
Editing, 2003
Mile High: A Tale of Two Stadiums
Bronze Telly
Recruitment (2015)
Startek Brand Warrior
Children’s Audience (2012)
Education for Academic Use
Francis and Paul
Outstanding Nature Programming (2014)
Chasing Ice
NATIONAL EMMY AWARD®
NOMINEES
Outstanding Science and Technology Programming &
Outstanding Cinematography Documentary &
Outstanding Research (2013)
Saving Face
Best Series
Best Editing (2005)
Chasing Lance
and 14 Heartland Emmy Awards®
CINE AWARDS
CINE Golden Eagle
Best Independent Documentary (2009)
They Killed Sister Dorothy
Masters Award (2009)
The Last Campaign of Governor Booth
Gardner
CINE Golden Eagle (2006)
No Bigger Than a Minute
Editing, Graphics, (2005)
Tantalus: Behind the Mask
Cultural Documentary (2001)
StageStruck: Crossing the Greenroom
FESTIVAL AWARDS
People’s Choice Award, Documentary Feature, Boulder International Film Festival, 2014 (Keep on Keepin’ On)
Grand Jury
Award, Boulder International Film Festival, 2014 (Being Evel)
Golden Space Needle Award – Best Documentary, Seattle
International Film Festival, 2014 (Keep on Keepin’ On)
Heineken Audience Award, Tribeca Film Festival, 2014 (Keep on
Keepin’ On)
Top Ten Audience Favorite, HotDocs, 2014 (Keep on Keepin’ On)
Audience Award, Documentary Feature
Competition, South by Southwest Film Festival, 2012 (Bay of All Saints)
Festival Favorites, South by Southwest Film Festival,
2012 (Chasing Ice) Best Feature Documentary WMIFF 2010 (When the Dragon Swallowed the Sun) Special Jury Award,
Best Documentary – Banff Television Awards, 2008 (Iron Ladies of Liberia) Maverick Award Nomination for Best Editing, 2009
(When The Dragon Swallowed The Sun) Best Political Documentary – Banff Television Awards, 2008 (Iron Ladies of Liberia)
Grand Jury Prize, Best Documentary – American Film Institute Dallas Fest, 2008 (Iron Ladies of Liberia) Grand Jury Prize,
Best Documentary – South by Southwest Film Festival, 2008 (They Killed Sister Dorothy) Audience Award, Best Documentary
– South by Southwest Film Festival, 2008 (They Killed Sister Dorothy) Gold Hugo – Chicago International Film Festival 2008
(Wesley Willis’s Joyrides)
Silver Hugo – Chicago International Film Festival, 2008 (They Killed Sister Dorothy)
Audience
Award, Best Documentary – Denver Film Festival, 2008 (They Killed Sister Dorothy) Audience Award, Best Documentary Short
– Aspen Shortsfest, 2008 (Come Back to Sudan) Millennium Award – One World Television Festival 2008 (Iron Ladies of Liberia)
Best Documentary Award, IMAGO 2008 (The Spot)
Best Documentary, ReelHeART International Film Festival, 2007
(No Bigger Than a Minute) Hugo Television Award, Silver Plaque, 2006 (No Bigger Than a Minute) Saga Prefecture
Governor Award, Akira Kurosawa Memorial Short Film Festival, 2006 (Left)
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The Last Artifact
theatrical and television credits
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The Last Artifact
The Team
ZACHARY FINK
CO-DIRECTOR
Zachary is a documentary film producer, director, and cinematographer.
His recent project, The Ride of Their Lives (directed by Steve James) is
featured in Amazon Studio’s new documentary series, The New Yorker
Presents. It premiered at Sundance in 2016.
Zachary is a 2015/2016 resident of San Francisco’s Film Society’s
FilmHouse Program where he is currently directing an episode of NOVA,
and a feature length documentary The Rescue List about the rescue and
rehabilitation of child slaves in Ghana.
He has produced and directed projects for The Discovery Channel, National Geographic, Apple, Google, and
for the Harvard Film Study Center. He has also shot for HBO, PBS, MTV, and numerous independent films.
During his tenure as the Director of Video for the George Lucas Educational Foundation, he cinematically
rebranded the short documentary films at the center of the foundation’s website, Edutopia.org. His awardwinning documentaries about the most successful and innovative schools in America continue to reach an
audience of over 500,000 people every month.
Zachary has an MFA in film production and an MA in cultural anthropology giving him a unique ability to
understand and connect with diverse audiences and communities. His experience directing large teams while
managing extensive projects means that he always has the big picture in mind. Whether he’s hanging out of a
helicopter over the Pacific ocean, trekking with a caving team through a Mexican cloud forest, bunking with
tuna fishermen on a commercial longliner, or tracking reindeer migration with indigenous Arctic herdsmen,
Zachary follows the story, manages ever-changing logistics, crafts beautiful images, and makes friends along the
way.
Through it all, he sees story and structure, breaking complex narratives down to manageable production
schedules, clear interview questions, succinct sound bites, and beautiful imagery. The results are compelling
human stories told in the most delightful way.
SELECT CREDIT LIST:
The Rescue List (In-Production, Feature Documentary) - CoDirector, Producer, Cinematographer (2017)
Over the Bolts (TV Series, MTV Canada) Episode 1.1: The
Journey Begins – Cinematographer (2009)
NOVA (In-Production, TV Series, Episode: PBS) - Director (2017)
Beyond the Reef (re-branded Family of the Wa’a, Feature
Documentary) – Producer, Cinematographer (2011)
The New Yorker Presents (TV Series documentary,
Amazon) Episode #1.2 “The Ride of Their Lives” - Producer,
Cinematographer ((2016))
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Inside (TV Series, National Geographic) Episode : Inside New
Orleans High -Director, Cinematographer (2008)
The Cave (TV Feature Documentary, Discovery Channel) Director (2014)
The New Los Angeles (TV Feature Documentary) - camera
operator (2006)
I Can’t Do This But I Can Do That: A Film for Families
about Learning Differences (TV Feature Documentary,
HBO) – Cinematographer (2010)
Last Hat in Town (Feature Documentary) – Director,
Cinematographer, Editor
The Last Artifact
The Team
CHAD HERSCHBERGER
CO-DIRECTOR / SENIOR EDITOR
Chad is a founding member and Creative Director of Milkhaus. He is a highly
skilled filmmaker with a deep knowledge in multiple disciplines within his
craft. Chad serves as a producer, director, cinematographer, editor, designer,
and animator on a wide range of films and client projects.
Chad enjoys the unique challenges posed by both long and short form projects.
He has produced and directed for clients including CNN, The Human Rights
Campaign, Arcadis, Fentress Architects, Great Outdoors Colorado, Indiana
University, The Nature Conservancy, and more.
Recently Chad co-directed, shot, and edited the feature documentary William Matthews: Drawn to Paint
(PBS) about a uniquely talented watercolor artist and his relationship with subjects he has revisited throughout
the course of his career. Currently, Chad is a creative producer and co-director on Milkhaus’ upcoming original
6-part series, The Know, an in-depth look at the pros and cons of surveillance; he is editor and animator on the
documentary 78/52; and is serving as producer and editor on the documentary Kim Swims about leading
open water marathon swimmer, Kim Chambers.
Chad combines broad technical ability with insatiable curiosity and a desire to tell stories where they are happening
to create compelling narratives that bring audiences into the world of the subject. He approaches his subjects with
enthusiasm and wonder that spills into the storytelling, while always thinking holistically about the production
and post workflow to create the most spectacular telling of a story possible.
SELECT CREDIT LIST:
The Know (In-Development, TV Series) – Co-Director,
Producer, Cinematographer, Editor
Chasing Ice (Feature Documentary, National Geographic) –
Animator
78/52 (In-Production, Feature Documentary) – Editor (2017)
Saving Face (Academy Award Winning TV Short Documentary,
HBO) – Composite Artist (2012)
Kim Swims (In-Production) – Producer, Editor (2017)
Being Evel (TV Feature Documentary, History Channel) – Post
Supervisor, Visual Effects, Composite Artist (2015)
William Matthews: Drawn to Paint (Feature Documentary,
PBS) – Co-Director, Cinematographer, Editor (2015)
A Lego Brickumentary (Feature Documentary) – CoProducer, Editor, Composite Artist (2015)
Doc of the Dead (TV Feature Documentary, EPiX) – Writer,
Editor, Graphic Artist (2014)
The People Vs. George Lucas (Feature Documentary,
Independent Release) – Editor, Graphic Artist (2011)
They Killed Sister Dorothy (TV Short Documentary, HBO)
– Assistant Editor (2008)
The Last Campaign of Governor Booth Gardner (TV
Short Documentary, HBO) – Assistant Editor
No Bigger Than a Minute (Documentary, PBS/POV) –
Editor, Cinematographer, Graphic Artist (2006)
STILL (Feature Documentary, PBS) - Writer, Cinematographer,
Editor (2012)
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The Last Artifact
The Team
KERRY DEIGNAN ROY
PRODUCER
Kerry produced the pop-culture break-out documentary features The People vs.
George Lucas (Lionsgate) and Doc of the Dead (EPiX). She is currently producing
EXA’s documentary about the shower scene from Hitchcock’s “PSYCHO” entitled
78/52 (a Co-Production with Milkhaus), plus in development on Monsters Within,
a feature length documentary animation hybrid art-directed by Annie Award winner,
Paul Sullivan (of Guillermo Del Toro’s “BOOK OF LIFE”) - telling the astonishing
origin story of our two foremost literary and movie monsters – Frankenstein’s monster
and the modern vampire
Kerry has served as Creative Director, Producer and Production Manager/Coordinator
for client and brand projects including: T-Mobile, Clorox, Sears, Janus Funds, Fisher
Price, March of Dimes, ConAgra Foods, Sealed Air, Texas Instruments, Western Union, BAE Systems, and more. Kerry was
Production Manager on No Bigger Than a Minute (Documentary, PBS/POV), Stagestruck (TV series, Bravo), The
Shakespeare Sessions (Documentary), and Ancient Voices (Short) Kerry is also the recipient of a Cine Golden Eagle for
her work on the internationally distributed documentary film Tantalus: Behind the Mask. Tantalus was a joint production
of the Royal Shakespeare Company and the Denver Center Theatre Company, which aired on PBS and BBC.
SELECT CREDIT LIST:
The Know (In-Development, TV Series) –Producer (2017)
78/52 (In-Post Production, Feature Documentary) – Producer
(2017)
Doc of the Dead (TV Feature Documentary, EPiX) – Producer
(2014)
The People Vs. George Lucas (Feature Documentary,
Independent Release) Producer (2010)
StageStruck: Crossing the Greenroom (TV series, Bravo)
-Production Manager
No Bigger Than a Minute (Documentary, PBS/POV)
-Production Manager (2006)
Tantalus: Behind the Mask (documentary, PBS, BBC) –
Production Manager (2001)
CATHY TREKLOFF
PRODUCER
Cathy is a founding member and the producer at Milkhaus. She is highly skilled at managing
both projects and people, and at ensuring the highest possible level of quality in Milkhaus’
productions. She is versed in both short form and long form programming – everything
from nationally and internationally aired commercial spots to music videos, feature films,
shorts, branded, and PSAs.
Her credit list includes managing projects for Noosa, Minute Maid, Budweiser, Arcadis,
The Human Rights Campaign, Capella University, Nestle, Starz Denver Film Festival,
Fentress Architects, City of Knoxville TN, Gill Foundation, Earthshare, Aeras, General
Mills, Center on Congress at Indiana University, Kellogg’s, Sprite, Quaker, and more.
Cathy oversees all client and film projects at Milkhaus, including serving as Associate Producer and Production Coordinator on the
Academy Award® winning documentary Saving Face (HBO, Ch.4); and post coordination on Being Evel (Documentary, History
Channel), Keep On Keepin’ On (documentary, Radius), and Doc of the Dead (documentary, EPiX)
SELECT CREDIT LIST:
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The Know (In-Development, TV Series) – Producer (2017)
Being Evel (TV Feature Documentary, History Channel) – Post
Production Coordinator (2015)
Keep on Keepin’ On (Feature Documentary) - Post House
Production Manager (2014)
Doc of the Dead (TV Feature Documentary, EPiX) – Post
Production Coordinator (2014)
Saving Face (Academy Award Winning TV Short Documentary,
HBO) – Associate Producer, Production Coordinator (2012)
The Last Artifact
The Team
HUW BOWEN
CO-PRODUCER
Huw is a writer, filmmaker, musician, and Visual FX artist based in the heart of England.
His debut feature film Triple Hit, an indie sci-fi , screened at San Diego Comic-Con in
2009 and won best SF Feature at the Phoenix Film Festival. Huw wrote and directed a series
of short films called Ministry of Secrets that are lead-ins to the feature film of the same
name, currently in development.
He has created projects for clients such as Malibu Rum and the University of Warwick,
created VFX on music videos for rock bands including The Pixies and Athlete, and edited
the documentary Ghost Town about the band the Specials. Huw’s interest in science has led
him to focus a large portion of his time as a filmmaker creating shorts for public engagement
with science, including a branded film about Silcon Wafer Damage called SIDAM for the
European Commission. His short film Delivery Boy was made in conjunction with the University of Warwick and was funded by
an Engineering and Physical Sciences Research Council grant to investigate the use of HDR in filmmaking. He has also created films
for Coventry University, including a film on the connections between mathematics and mythology, which was commended by Physics
World magazine.
As a director, he has had the privilege to interview leading academics and other leaders in their fields including NASA Astronaut
Michael Foale, and the Archbishop of Canterbury. He has filmed at some of the most prestigious scientific institutions in Europe,
including NPL, the Diamond Light Source at Harwell, CEIT in Spain and Karlsruhe Institute of Technology in Germany.
SELECT CREDIT LIST:
The Know (In-Development, TV Series) – Co-Director,
Producer, Writer (2017)
Ministry of Secrets (Shorts Series) - Director, Writer, Editor,
VFX (2012-current)
Triple Hit (Feature Film), Director (2009)
Ghost Town (Documentary Short), Editor
BRETT PURMAL
ART DIRECTOR / ANIMATOR
Brett Purmal, B.F.A., Pratt Institute Computer Graphics, is freelance Senior Level Animator
and Art Director with over 14 years of professional Feature Film, Television and Game
experience. Born in California, raised in Ohio, and after establishing his career in New
York City, Brett got his start in feature animation working in New Zealand at Weta Digital
on Peter Jackson’s King Kong.
Exploring interactive art, Brett spent several years in Vancouver, Canada on Electronics
Arts global R&D team before returning to film. Brett’s later films include working back at
Weta Digital on James Cameron’s Avatar, in Australia leading a large team of animators
at Dr. D Studios on Happy Feet Two, Animal Logic’s Walking with Dinosaurs 3D,
Rising Sun Pictures on The Hunger Games, and at Double Negative Singapore on
Godzilla, Muppets Most Wanted, and The Hunger Games: Catching Fire.
He most recently finished animating at Industrial Light & Magic on Teenage Mutant Ninja Turtles: Out of the Shadows,
Captain America: Civil War, Tomorrowland, Teenage Mutant Ninja Turtles, and Transformers 4: Age of Extinction.
SELECT CREDIT LIST:
Teenage Mutant Nija Turtles: Out of the Shadows
(Feature Film) - Senior Animator, ILM (2016)
Captain American: Civil War (Feature Film) - Senior
Animator (2016)
Tomorrowland (Feature Film) - Senior Animator (2014)
Teenage Mutant Ninja Turtles (Feature Film) Senior
Animator / Lead Artist, ILM (2014)
Transformers: Revenge of the Fallen (Feature Film) Senior Animator / Lead Artist 1 (2014)
Godzilla (Feature Film) - Senior Animator, Double Negative
(2013)
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The Last Artifact
The Team
ROBERT MURATORE
DIRECTOR OF PHOTOGRAPHY
Robert is an Emmy-award winning cinematographer specializing in feature length
documentaries and long & short form narratives. His extensive list of feature
credits includes Being Evel for the History Channel, Doc of the Dead for EPiX,
The Frame for acclaimed cult director Jamin Winans, and CANNIBAL! THE
MUSICAL for “South Park” creator Trey Parker.
Worldwide clients include DISH network, Frontier Airlines, Universal Studios,
National Geographic, Discovery Channel, Ball Aerospace, Fox Kids, McDonald’s,
Warren Miller Entertainment, The Gap, Art21, Gaiam, Bacardi, and many others.
Although he has applied his talents to a multitude of music videos, commercials,
PSA’s and concert videos, he remains dedicated to the cinematic endeavors of
storytelling through documentary and narrative film. A more extensive list of
credits can be found on his IMDB page.
SELECT CREDIT LIST:
78/52 (In-Production, Feature Documentary) – Producer,
Cinematographer (2017)
A Lego Brickumentary
Cinematographer (2015)
Being Evel (TV Feature Documentary, History Channel) –
Cinematographer (2015)
Doc of the Dead (TV Feature Documentary, EPiX) – Producer,
Cinematographer (2014)
The People Vs. George Lucas (Feature Documentary,
Independent Release) – Producer, Cinematographer (2010)
William Matthews: Drawn to Paint (Feature Documentary,
PBS) – Cinematographer (2015)
(Feature
Documentary)
–
COLOR WHEEL MUSIC
MUSIC COMPOSITION
Jeff Linsenmaier
Jeff Linsenmaier has plied his craft for over 20 years, playing drums and keyboards
for artists such as John Grant, Nathaniel Rateliff, David Eugene Edwards and The
Fray, among others. In addition, Jeff is an accomplished Ableton engineer, working
in both programming and operating live playback for acts such as Frank Ocean,
Keith Urban, Owl City, Thomas Rhett and Nick Jonas. He currently splits his time
between Nashville TN and his hometown of Denver CO.
Ted Hudson
Ted has spent the past eight years negotiating music, footage, and photo licenses for use in dozens of Oscar-winning
documentaries and original programming at HBO. A recent transplant from New York City, he’s got roots in Colorado
via his grandfather, Dr. George E Hudson (Brown University), who headed the theoretical department of the atomic clock
at NIST in Boulder (at the time, called National Bureau of Standards). Previous to his work at HBO, Ted founded and
played bass for The Damnwells, who toured with acts including The Dixie Chicks, Cheap Trick, and The Fray, where
he and Ben Wysocki became buddies. Ted also worked on two tech startups in NYC, Hunch and Milewise, which were
acquired by EBay and Yahoo! (respectively).
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The Last Artifact
The Team
Ben Wysocki
Having spent the past thirteen years touring internationally as the drummer in the four-time Grammy-nominated band,
The Fray, Ben has built a rare and extensive community of industry professionals, artists, and performers. Colorado,
where he lives with his wife and daughter, is where his roots are, and he has worked with an array of artists here as an
engineer, producer, and arranger. When not touring, recording, or composing, he’s an avid motorcyclist, record collector,
and craft beer aficionado.
Shawn King
Shawn plays drums and trumpet for the Denver band DeVotchKa and has composed and produced music for various documentary films. DeVotchKa’s music has appeared countless times in international productions- largely due to their success
with the score of 2006’s Little Miss Sunshine. In 2015 the band was added to Red Rock’s Hall of Fame, while celebrating their 5th anniversary of collaboration with the Colorado Symphony at the historic venue. In 2015 Shawn partnered
with Ozomatli singer Raul Pacheco to produce ‘Los Dreamers’ a bilingual concept album about immigration. Denver arts
patrons also witnessed DeVotchKa’s award winning collaboration with the Denver Center for Performing Arts in the soldout run of Sweeney Todd.
NEIL HILLMAN
SOUND DESIGNER / AUDIO MIXER
Neil Hillman joined UK broadcaster Central Independent Television in 1982, Over
the next 8 years, he was responsible for studio and location sound recording, mixing,
and sound post-production for drama and documentaries. He left Central TV in
1990 to become freelance, and has subsequently held responsibility for providing
audio for almost every UK broadcaster as either a studio Sound Supervisor, an OB
Sound Supervisor, a Dubbing Mixer, or as a drama or documentary location Sound
Recordist.
Neil founded UK audio post-production facility The Audio Suite in March 2002,
to take account of his increasing amount of work as a Sound Designer and Dubbing
Mixer; but continued to enjoy working outside of the mixing theatre as a Sound Designer / Supervisor / Mixer on Outside
Broadcasts and also as a drama and documentary location Sound Recordist. Over the next 10 years he steered and grew
the company to achieve over 500 IMDb credits. In 2010 he was awarded the prestigious Royal Television Society award for
‘Best Production Craft Skills’. In 2012, Neil successfully transitioned The Audio Suite from a commercial post-production
facility into a unique Sound Design practice and in 2015 it expanded further by opening an Australian office. Neil Hillman
operates as a ‘Free-range and Organic’ Sound Designer / Supervising Sound Editor / Re-recording Mixer for feature
films, utilising both the Australian and UK Audio Suite sound design studios as his base, depending on client preferences
/ project requirements; whilst working on Outside Broadcasts in both countries as a Sound Designer / Sound Supervisor
(A1) (AD) / Audio Mixer.
SELECT CREDIT LIST:
London 2012 Olympics, the London 2012 Paralympics, the
Glasgow 2014 XX Commonwealth Games and the Rio 2016
Olympics.
Pirates of the Caribbean: Dead Men Tell No Tales ADR
mixer (2017)
Songs of Praise (TV Series) Sound Editor - 1 episode (2016)
Star Wars Rebels (TV Series) Sound Editor (2014)
Here and Now (Feature Film) Sound Designer (2014)
Death Comes to Pemberley (TV Mini-Series) ADR mixer - 2
episodes (2013)
Peaky Blinders (TV Series) Sound Effects Recordist- 6 episodes
(2013)
MI-5 (TV Series) ADR mixer - 1 episode (2009)
Lincoln (Feature Film) ADR Mixer (2012)
This Morning (TV Series) Sound Editor - 13 episodes
17
The Last Artifact
The Team
James Durée
ANIMATOR
James graduated magna cum laude at Savannah College of Art & Design with a degree
in Motion Graphics and Photography with a passion for title and credit design. James
leads animation and motion graphics at Milkhaus creating everything from kinetic
typography for clients such as the Human Rights Campaign, to product animations for
Sierra Mist and even frame by frame live action tummy tucks on actors in commercials.
James was the lead composite artist on Being Evel, requiring all interviewees to be
painstakingly digitally placed in a theatre stage setting and archive footage of Evel
Knievel digitally projected behind them.
He has worked on numerous animated short films, commercials, feature documentary,
branded content and PSAs on projects for: Aeras, Pepsi, Sierra Mist, Indiana University, T-Mobile, Qwest, Dex One, TD
Ameritrade, Rehab, Hot Wheels, Treasury (Fosters) Wine estates, Red Robin, Reebok, Walmart, Sam’s Club, United Way,
Unilever, Ingenix Human Rights Campaign and many others.
SELECT CREDIT LIST:
Being Evel (TV Feature Documentary, History Channel) –
Lead Composite Artist , Visual Effects (2015)
A Lego Brickumentary (Feature Documentary) – Animator,
Composite Artist (2015)
The Cave (TV Feature Documentary, Discovery Channel) -
Animator (2014)
Saving Face (Academy Award Winning TV Short Documentary,
HBO) – Compositor (2012)
The Life and Times of Paul the Psychic Octopus (Feature
Documentary - Animator, Compositor (2012)
PATRICK HUBER
EDITOR
Patrick was born and raised in Southern California with flip flops on his feet and a passion
for moving pictures ingrained in his DNA. Growing up one of six children, yes six, and now
being married with two small daughters of his own, the stories are never-ending. Through
high school, storytelling was something he found invigorating, so when he went onto the
University of Utah to be a doctor, it just didn’t stick. From there he tried his hand in a
plethora of different work environments, collecting stories along the way, before finding his
way back to his raconteur roots.
Now, he puts that passion for film and storytelling into everything he does at Milkhaus,
always wanting to do and learn more. Whether it be directing, motion graphics, copywriting
or editing, the thing that never changes is his unparalleled dedication to each and every
project that comes in the Haus. Patrick has had his hand in a number of different projects including documentary films; Saving Face,
Chasing Ice, The Life and Times of Paul the Psychic Octopus, Doc of the Dead, STILL, A Lego Brickumentary,
Keep on Keepin’ On, William Matthews: Drawn to Paint, and Being Evel. Patrick has edited numerous projects for clients
including: Pepsi, Mountain Dew, Sierra Mist, CNN, National Geographic, Discovery Channel, Discovery Velocity, America’s Road
Home, Denver Dumb Friends League, National Conference for State Legislatures, Human Rights Campaign, The Gill Foundation
& the Denver Film Society.
SELECT CREDIT LIST:
Being Evel (TV Feature Documentary, History Channel) –
Color Correction (2015)
Keep on Keepin’ On (Feature Documentary) - Title
Compositing (2014)
William Matthews: Drawn to Paint (feature Documentary,
PBS) - Editor (2015)
18
Doc of the Dead (TV Feature Documentary, EPiX) – Assistant
Editor (2014)
Saving Face (Academy Award Winning TV Short Documentary,
HBO) – Assistant Editor (2012)
STILL (Feature Documentary, PBS) - Assistant Editor (2012)
The Last Artifact
The Team
DAVE KRAHLING
COLORIST
Dave is a founding member of Milkhaus and serves as a Senior / finish editor,
compositor, and color correction artist at Milkhaus. He has extensive experience in
corporate, commercial, documentary, and broadcast productions. His work has been
seen on Discovery Channel, Bravo, National PBS, NBC and National Geographic
as well as approximately 60 film festivals worldwide. He refined his editing and
finishing skills working on spots and promotional material for Pepsi, Eddie Bauer,
Capella University, CoinStar, T-Mobile, Comcast, Western Union, University of
Colorado, and Qwest among many others.
Dave’s unique editing and graphic style has earned numerous heartland Emmy
Awards, a Telly award for his work with T-Mobile, as well as two 2005 National Emmy Nominations for his work on the
Discovery Channel series Chasing Lance.
Some project highlights include being the editor on the feature documentary The Life and Times of Paul the Psychic
Octopus about the famous prognosticating octopus who accurately predicted the outcomes of World Cup matches. He
also was the editor on the feature documentary When the Dragon Swallowed the Sun about the Chinese occupation
of Tibet.
SELECT CREDIT LIST:
Being Evel (TV Feature Documentary, History Channel) –
Color Correction (2015)
Keep on Keepin’ On (Feature Documentary) - Color
Correction (2014)
William Matthews: Drawn to Paint (Feature Documentary,
PBS) - Color Correction (2015)
Doc of the Dead (TV Feature Documentary, EPiX) – Color
Correction (2014)
The Life and Times of Paul the Psychic Octopus (Feature
Documentary) - Editor (2012)
When the Dragon Swallowed the Sun (Feature Documentary)
- Editor (2010)
GREG HERBURGER
ASSISTANT EDITOR
Greg received his BFA from Colorado State University in 2015, and serves as an
assistant editor and editor at Milkhaus. Greg is talented in multiple disciplines,
from post production to production. Greg enjoys cutting his teeth on both long
and short form programming, and working in our constantly changing and fastpaced industry. Greg has served as as assistant editor on projects for Eddie Bauer,
18 Birdies, Arcadis, Great Outdoors Colorado, Denver School of Science and
Technology, and Pinnacol Assurance.
CREDIT LIST:
Hearing is Believing (Feature Documentary) -Assistant Editor
(2016)
Stadium Anthems (Feature Film) - Assistant Editor (2016)
19
MANAGEMENT OF THE PROJECT
20
The Last Artifact
PERSONNEL ROLES
Directors: Zachary Fink & Chad Herschberger
Due to the short production period for this film, we are proposing two directors to work together on managing this
film. This will allow us to distribute the workload, including on-location production trips and eliminate bottlenecks. Core
responsibilities stem around crafting the narrative arc of the film, this includes: drafting outlines for non-scripted story in
pre-production/project planning; writing the scripts and planning the objectives of the animated segments, and the like.
During production, Zachary and Chad will split the shoots to maximize schedule flexibility. While on location, they will be
responsible for interviewing subjects, directing crew, and operating the “B” camera if needed. In post production, Zachary
and Chad will work together to refine the story until it reaches the project’s objectives and the film is polished for public
viewing. The directors have similar filmmaking sensibilities and will supplement each other where they vary.
Producers: Kerry Deignan Roy & Cathy Trekloff
The tasks of coordinating shoots with scientists and crew, arranging travel, securing permits where necessary, maintaining
schedule, distribution agreements, personnel & third party payments, contractual obligations, insurance, budget tracking,
and the like all fall under the purview of the role of “Producer”. Kerry and Cathy will work collaboratively to ensure that
the film remains on time, on budget, in compliance, and is released to the public in the specified timeline.
Co-Producer: Huw Bowen
As co-producer, Huw will spearhead research, and work alongside the directors to translate core scientific concepts to make
them clear and understandable by laypeople. Huw will work with the producers to help arrange shoots, and coordinate on
the film’s crew, collaborators, and supplement on tasks such as coordination with distributors on requirements, etc.
Art Director / Senior Animator: Brett Purmal
Brett will work with the directors to establish the artistic style of the film, animations and graphic treatments for the film.
The Brett will also serve as senior animator, leading a small team of 2 additional animators.
DIRECTOR OF PHOTOGRAPHY: Robert Muratore
Robert will work with the directors to establish a cinematic style, including style of framing, camera angles, depth of
field, and lighting approach. Robert will be responsible for ensuring camera operators (used as needed due to scheduling)
maintain consistency with the established style.
SENIOR EDITOR: Chad Herschberger
Chad (who is also serving as co-director) will be responsible for working closely with Zachary to carefully plan and create
the overarching story structure and character narrative arcs in the post production process. Chad will also work with the
Editor, Patrick, to ensure that pacing, energy, etc. remain consistent with the creative vision.
MUSIC COMPOSITION: Color Wheel Music
Color Wheel will compose original music for the film using their talented roster of in-house musicians and collaborators,
and license existing music tracks where appropriate for the film. They will work closely with the directors to create music
that matches the creative vision for the film.
SOUND DESIGNER / MIXER: Neil Hillman
Neil will mix audio for basic levels ensuring that all dialogue is clear, creating or enhancing the aural environment of the
film, and creating the technical output for final delivery.
21
The Last Artifact
PERSONNEL ROLES
ANIMATOR: James Durée
James will work with the art director to build animation assets, and execute animations to the specifications and needs of
the co-directors.
Editor: Patrick Huber
Patrick will be responsible for assembling the film: carefully selecting the best shots, sound bytes and moments to create
scenes, and build the story structure of the film working closely with the co-directors, refining the edit until ready for
distribution. Patrick will also be responsible for maintaining the media for archive and creating all files or hard copies of
the film for final delivery.
ASSISTANT EDITOR - GREG HERBURGER
Greg will assist the post production process by logging all media, organizing the media into edit jobs as needed by the editor
and senior editor. Greg will also be responsible for assisting with the maintenance, organization, and archive of all media
files, and the creation of deliverable files.
COLORIST - DAVE KRAHLING
Dave will be responsible for carefully color balancing the imagery of the film, shot by shot, scene by scene, applying any
creative color to the film as may be directed by the co-directors, and ensuring that all levels meet industry technical
requirements for broadcast and theatrical.
22
The Last Artifact
SCIENTIFIC REVIEW PANEL
Our scientific review panel will be headed up by Keith Bowen (bio below), who will help us locate and fill the review panel.
Ideally, our panel will include one representative from NIST, and then up to four other international scientists working in
metrology and related fields.
- Preliminary meetings either in person or via Skype conferences to thoroughly discuss the science related to the redefinition of the Kilogram, prior to shooting. This will allow the team to get up to speed before making creative and logistical decisions for the film.
- Semi-regular review meetings, to check for accuracy of materials and catch potential errors promptly.
- Reviews of interview content with scientists and experts as needed for clarification and context.
- Reviews of film and animation versions: Rough Cut (V1), Fine Cuts (V2 & V3), Picture Lock (V4).
KEITH BOWEN
SCIENTIFIC ADVISOR
Professor Keith Bowen MA DPhil, FREng FIMMM FInstP FRS, obtained his MA
and DPhil in Metallurgy at Oxford University, working on single crystals of metals with
Prof. JW Christian FRS. He was appointed Lecturer in Materials in the Department
of Engineering, Warwick University in 1968 and until 1996 held various academic
positions, including Head of Department, Professor of Engineering, Director of the
Centre for Nanotechnology and Microengineering and Chairman of the Graduate
School for Science. He has also held visiting professorships at Massachusetts Institute of
Technology, University of Paris and University of Denver. Keith has authored four books
and about 150 publications on the theory and application of X-ray characterization
techniques, theory of dislocations, X-ray interferometry and ultra-precision engineering,
including the book “High Resolution X-ray Diffraction and Topography” with Prof. Brian Tanner. He holds Fellowship rank at
the Royal Society, the Royal Academy of Engineering, the Institute of Materials and the Institute of Physics.
One of the major thrusts of Keith’s research was the use of X-ray interferometry to relate the silicon crystal lattice spacing to
optical and mechanical means of measuring small displacements, down to 10 picometres (in two axes). Since this is also an
essential step in the ‘atom counting’ method of determining the kilogram, he interacted strongly with scientists working on this
problem, e.g. its inventor Prof Michael Hart of London; the leading NIST scientist, the late Dr Richard Deslattes; the former
head of the Bureau de Poids et Measures, Paris (Dr. T.J. Quinn) and other scientists at NPL and PTB. While working in the USA,
he was invited by the NAS/NRC NIST Evaluation Committee to join the Evaluation Panel for the NIST Physics Laboratory
(despite not being a US citizen). He served on this for three years in the late 1990s and for the latter two years chaired the Atomic
Physics Panel, which included the Quantum Metrology Group of Richard Deslattes as well as the Laser Cooling and Trapping
Group of Nobel laureate Bill Phillips.
Keith has acted as consultant to several companies and organisations including Rolls-Royce, Shell Venture Research, the
European Synchrotron Radiation Facility, Jordan Valley Semiconductors and Adaptix Ltd. He joined Bede Scientific Instruments
Ltd. as part-time Engineering Director in 1983, and on taking early retirement from Warwick University, became President of
Bede Scientific Incorporated in Denver, CO USA, in 1996. He successfully built up Bede’s business in the USA to include major
contracts with all the major computer and semiconductor device manufacturers. After flotation on the LSE in 2000, Keith
served as Group Director of Technology of Bede plc until his retirement in 2005. He has since served as Non-Executive Director
of spinout technology companies. He is currently a consultant in X-ray science and technology, and a technical Due Diligence
advisor for investors in startup companies. He serves on and chairs various scientific committees for the Royal Society, including
its Public Engagement Committee.
23
The Last Artifact
timeline
PRE-PRODUCTION
Assume December 2016-March 2017
Topic Study:
Work with NIST and Scientific Review Panel to:
- Understand clearly the two scientific techniques in this re-definition process
- Understand the scientific implications of this process
- Both will inform how we frame our interviews/and follow stories AND assist with disseminating that information to the audience in a way that is engaging, digestible and retainable.
Independent Research: Directors and Producing team:
- Identify story themes we want to capture
- Final determination of scientific teams to film
- Identify final key characters
- Identify story(ies) to follow for each team
Develop Project Outline (for unscripted portions)
Develop scripts for animated sections
Begin planning production shoots
- Establish relationships with international scientific teams with the help of NIST, and gain filming access
- Begin arranging locations and filming.
PRODUCTION
Assume Mar 2017 - November 2018
For each shoot throughout the production process, tasks involved include:
24
- Coordinate with scientific teams to arrange filming.
- Production team plans specific shoot objectives
- Secure travel details for crew
- Secure any Site Specific Crew, as needed including:
- Second Unit Cinematographers
- Site Specific Production Assistants
- Site Specific Interpreters
The Last Artifact
timeline
Filming scientific teams:
Each trip will include interviews with Key and Support characters
- Will include observational b-roll of characters at work and where possible at home to add dimensionality to these characters.
- Will include observational b-roll of team work and activities, including how they work together, successes and challenges that happen along the way.
- Will include observational and planned b-roll of facilities and beauty shots of experiments, to add excitement and intrigue.
- Ingest and Log Footage
- This process will happen after every location shoot, prepping for the Post Production Phase
POST PRODUCTION
Assume Post beginning July 2017
Post Production will begin early for this film. We will begin stringing out scenes into a Work In Progress Cut after the
first round filming has taken place to help identify gaps that we need to fill while we still have time in production. We
will continue with the Post process on editing the live action portions of the film in the summer of 2018, to allow for
the bulk of filming to be completed.
Animation for the film will begin in mid-2017. This will allow time for animated content to go through design,
scientific vetting, and become finalized for placement into the film early on, rather than after the film is fully cut. This
is to ensure that we can meet the target public release between December 2018 and March 2019.
We will have most scenes and the narrative structure of the film laid out before the filming of the commencement
ceremony at the Palais de Versailles in November 2018. This will allow for a fast turnaround to complete the final edit
in time for the public release date. As a safety measure, if there is a surprise or game-changing event that occurs in
November 2018, we will be well-prepared to shift scenes and alter narrative structure as necessary.
Post Process - Live Action:
Logging Media
-Occurs after each shoot
Work in Progress Cut - Version 1 (Estimated completion: July/August 2017):
- Will include content to-date. First pass on film used to determine missing content
- Will include large portion of live action scenes (scenes such as Palais de Versailles footage will be acquired in 2018)
- Will include any completed animation scenes
- This cut will be sent to the Scientific Advisory Board and NIST for review
25
The Last Artifact
project Timeline
Rough Cut - Version 2 (Estimated completion: October 2018):
- A refined cut, trimming scenes for pace
- Will incorporate revisions based on notes from Scientific Advisory Board and NIST.
- Will include any story and structural revisions as deemed necessary by the Directors
- Will include completed animation scenes
- This cut will be sent to the Scientific Advisory Board and NIST for review
- This cut will be screened privately with industry colleagues for outside input on the film
Pre-Final Cut - Version 3 (Estimated completion: November 2018):
- Will include further story and structural revisions as deemed necessary by the Directors
- Will see polished pre-final scenes
- Will include all animations
- Will include Pre-final music composition
- Will be sent to Sound Designer for sound design and audio mix
- Will be sent to the Scientific Advisory Board and NIST for approval review.
- Will be screened privately with industry colleagues for outside input on the film
Final Cut - Version 4 (Estimated completion: December 2018):
- Will include Palais de Versailles scene(s)
- Will include the Final music composition
- Will include the final sound design and audio mix
- Will be sent to all reviewers for final comments
- Revisions, if needed will be made
- Final files will be created
Delivery (Estimated public elease: January/February 2019)
Post Process - Animation
Animation will occur as scene needs are locked throughout the production and post production process. For each
animation scene, the following timeline will occur:
26
The Last Artifact
project timeline
Concept Art
Animatics (also known as mock-ups):
- The animatics will be sent to the Scientific Advisory Board and NIST for review.
Animation Rough - Version 1
- Will include all visual assets at wire frame or unfinished level (no added shading, colors, or texture)
- Will include content revisions based on feedback from the Scientific Advisory Board and NIST
- Will focus on design, layout, placement, and timing.
- This cut will be sent to the Scientific Advisory Board and NIST for review.
Animation Rough - Version 2
- Will include revisions to design, layout, placement, and timing as deemed necessary by the Directors
- Will include content revisions based on feedback from the Scientific Advisory Board and NIST
Animation Pre-Final - Version 3
- Will include shading, colors, texture
- Will include content changes based on feedback from the Scientific Advisory Board and NIST
- Will include changes to design, layout, placement, and timing as deemed necessary by the Directors
Animation Final - Version 4
- Final renderings for inclusion into the film
Marketing/Promotions
We intend to directly submit the film to venues for broadcast, cablecast or streaming services as part of the contractual
obligation of the grant, with the initial public release of the film between December 2018 and March 2019.
Although specific to contract terms, we will be seeking a broadcast distribution partner with interest in premiering the
film at a high profile film festival that lands within our target window such as: Sundance, Berlin, and SXSW. This
will create a marketing buzz for the broadcast premiere.
Distribution
See next section, “Additional Fundraising & Distribution Plan”
27
The Last Artifact
ADDITIONAL FUNDRAISING & DISTRIBUTION PLAN
ADDITIONAL FUNDRAISING
Our team does not intend to fundraise for the film. We have created a plan that works within the grant money
from NIST. We believe that the allotments for resources in our proposed budget is appropriate and viable.
If there are budget overruns due to unforeseen events, or additional time for the production team that is not now
known, we will assume those costs as In-Kind contributions to the film. We cannot include those costs currently
into this proposal, because they are neither known nor expected.
DISTRIBUTION PLAN
Distribution for any film requires careful consideration of viable platform options including vetting the current
commissioning mandates for each venue and their select target audiences. Milkhaus will review all appropriate
options that will allow the film to reach a broad audience for both the initial public release and the ongoing
availability to audiences.
Our team’s collective background working with documentary sales agents, distributors, broadcasters, and
streaming services across the globe will help inform our decisions as we maneuver through the process of getting
the film to market.
Because of the intricacies of this process, we have not obtained Letters of Intent from possible venues. We believe
that we will be better able to deliver the film to a top venue with more time and planning, allowing the film to get
a broader release both nationally and internationally.
It has been our experience that in lieu of a work for hire agreement, most distributors prefer to license a completed
film.
28
The Last Artifact
RESOURCE AVAILABILITY
Equipment:
Primary “A” cameras and “Secondary “B” cameras and lenses are owned by Milkhaus, the Lead Cinematographer, and
Directors, with access granted for all shoot days for a reduced rental rate. In some instances, “B” cameras or specialty
lenses will be rented as needed through reputable industry equipment rental facilities, and arranged prior to shoots.
Milkhaus also owns camera support and lighting equipment including: tripods, slider, jib, drone, gyro stabilizer, lighting
packages and the like. In some travel situations, we may determine that it will be more economical to rent heavy items on
location from reputable industry equipment providers, due primarily to over-limit baggage fees or shipping costs. We will
carefully determine the most economcial and practical approach when planning each location filming trip.
Facilities:
Production: Most filming will take place “on location”, meaning at the workplaces, homes, etc. where the documentary
subjects will be located.
Additionally, our proposal calls for select filming in a studio environment. The studio location is already determined: 35
Left Studios in Denver, CO. During production, we will coordinate a schedule with the studio for shooting and secure the
rental.
Post Production: Milkhaus,LLC is a production and post house, and as such, has post production capabilities in house
including the necessary equipment, software and post production personnel. The one exception to this is our audio post
production abilities and software. We have selected a contractor to supply audio post production services including sound
design and audio mix (contractor: Neil Hillman, see below).
Contractors and Collaborators:
Films call for many collaborations, ensuring that the right person for the job is used to the benefit of the production and
the final product - the film. Our film will require contracting with talented filmmakers that supplement our in-house team.
The contractors we will use as Key Personnel are listed below, and all are committed and available to work on the project
if our team is awarded the grant (see Letters of Commitment):
Zachary Fink, Co-Director
Kerry Deignan Roy, Producer
Huw Bowen, Co-Producer
Robert Muratore, Lead Cinematographer
Brett Purmal, Art Director/Animator
Color Wheel Music, Music Composition
Neil Hillman, Sound Designer / Audio Mixer
Keith Bowen, Science Advisor
Other contractors or collaborations are not currently known including the remaining roster of scientific advisors, and
potentially, as applicable, commissioning editors from broadcast/cablecast or other distribution sources.
29
The Last Artifact
budget narrative
BUDGET VIEW 1
Budget items as entered into form SF 424A
TOTAL BUDGET
$
500,000.00
a. PERSONNEL
Producer
Co-Director
$
$
$
104,575.00
15,575.00
24,000.00
Editor
Assistant Editor
Animator
Colorist
$
$
$
$
36,000.00
6,000.00
15,000.00
8,000.00
$
6,000.00
$
6,000.00
b. FRINGE BENEFITS
Meals (travel per diems and
working meals)
c.
30
TRAVEL
Includes all travel: airfare,
hotel, mileage, etc)
$40,180.00
d. EQUIPMENT
$
RAID hard Drive purchase $
Camera Packages
$
Lighting Package
$
Grip Package
$
49,000.00
4,000.00
25,500.00
9,000.00
10,500.00
e.
SUPPLIES
$
Video Media camera cards $
f.
CONTRACTUAL
Co-Director
Producer
Co-Producer
Art Director / Animator
Advisors and Consultants
Director of Photography
Additional Camera
Location Sound Recordist
$
$
$
$
$
$
$
$
$
140.00
140.00
259,325.00
34,000.00
21,575.00
17,550.00
27,000.00
9,000.00
40,350.00
7,800.00
19,500.00
f. CONTRACTUAL, CONTINUED)
On Set Translator
$
7,500.00
Researchers
$
4,000.00
Transcription (and
translation)
$
16,200.00
Still Photographer
$
3,000.00
Composer
$
15,000.00
Stock & Footage Licensing $
7,000.00
Audio Mixer/Post Sound Sweetenting
$
15,500.00
Legal Fees
$
5,800.00
Accounting
CCSL Document
$
$
3,550.00
5,000.00
g. CONSTRUCTION
Set design and build
$
$
3,000.00
3,000.00
h. OTHER
Insurance
Mastering DCPs
Studio Rental
Permits and Fees
Website Registration
Shipping
Contingency
$
$
$
$
$
$
$
$
37,780.00
13,000.00
5,000.00
4,950.00
750.00
20.00
750.00
13,310.00
The Last Artifact
budget narrative
BUDGET VIEW 2
Budget items as related to the specific phases of the project. A detailed line item budget is also vailable for review.
TOTAL BUDGET: $500,000.00
DEVELOPMENT = $ 44,750.00
This phase is for further development of the concept and approach. It will also include researching the subject matter, and learning
from the scientific advisors and other consultants.
- 4 weeks for Producers and Researchers
- 3 weeks for Co-Directors
- First content reviews for Advisors and Consultants
PRE PRODUCTION = $16,050.00
This phase is dedicated to planning and arranging filming.
- Line Producing / Location prep (3 days per location film shoot)
- Film shoot equipment prep (Director of Photography)
- General Liability Insurance
PRODUCTION = $234,070.00
This is the filming phase, which will include multiple production trips to capture observational footage and conduct interviews. This
phase is the longest phase in the project timeline.
- 6 locations, multiple days. Assume filming in USA (2 locations), Canada, Germany, France and Japan (or modified as may be suggested by NIST). Will include Producer, Director, DP, Audio Recordist.
- Travel includes all travel related expense: airfare, hotel, mileage, meals, etc.
- Equipment costs for Camera, Lighting, and Grip Packages, and Camera Media
- Translator, as needed at select filming locations
- Still photography for marketing and distribution delivery
- Studio rental / Set design and build for re-creation scenes
- Permits and fees, as required by various municipalities for filming
- Insurance (Production Insurance, including coverage for equipment, faulty negative, travel, Kidnap and Ransom)
POST = $181,050.00
The phase that includes editing the film, animation, and output for delivery.
- Line Producing
- Transcription (and translation)
- Director / Editor / Assistant Editor / Color Grader
- Program reviews Advisors and Consultant Stipends
- Animation
- Composer / Audio Mixer / Post Sound Sweetening
- RAID Hard Drive for film files & archive
- Stock & archival footage licensing
- Legal Fees, for title clearance
- Errors & Omissions Insurance (E&O)
- Accounting and reporting
PROMO MARKETING / DISTRIBUTION = $10,770.00
- Deliverables creation such as Digital Cinema Print, Broadcast files and/or tapes
- Combined Continuity and Spotting List (CCSL), a required deliverable document that is a shot by shot written visual ac
count and transcription of the film.
- Shipping
- Website registration
CONTINGENCY = $13,310.00
31
The Last Artifact
LETTERS OF COMMITMENT
ZACHARY FINK
415-413-8229
[email protected]
106 Liberty St
San Francisco, CA
94110
September 24, 2016
NIST
100 Bureau Drive
Gaithersburg MD 20899
RE: Funding Opportunity 2016-NIST-KG-01
(To produce the documentary film “The Last Artifact”)
Proposal submitted by Milkhaus, LLC
To Whom it May Concern:
I am pleased to confirm my commitment to serve as the Co-Director on the film
“The Last Artifact” with Milkhaus, LLC if they are selected as the grant recipient for
the above mentioned Funding Opportunity.
I affirm that I am a contractor who will be hired by Milkhaus, LLC to fulfill this role,
and that I am available to perform my duties in this role during the contract period
with NIST.
The work I will complete on the film is as listed in the proposal: to collaborate with
my co-director from Milkhaus (Chad Herschberger) in leading the creative approach
of the film including: Crafting the story and structure; Writing scripts for animated
segments; Guiding on-location shoots including conducting interviews, and
determining what content to acquire on site on site; supervising the post process to
complete the film such as refining story and structure and determining style and
pace.
My compensation for my participation in the film will be based on actual numbers of
days worked on the project. The budget currently listed for my position on the film
is $34,000.00. Any equipment rentals for my personally owned gear will be based
on number of days used, and the respective rates set forth in the budget.
Please feel free to contact me at your convenience should you have any questions.
Yours Sincerely,
Zachary Fink
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The Last Artifact
LETTERS OF COMMITMENT
LETTER OF COMMITMENT
CONTRACTOR: Kerry Deignan Roy
9/24/16
NIST
100 Bureau Drive
Gaithersburg MD 20899
RE: Funding Opportunity 2016-NIST-KG-01
(To produce the documentary film “The Last Artifact”)
Proposal submitted by Milkhaus, LLC
To Whom it May Concern:
I am pleased to confirm my commitment to serve as the Producer on the film “The Last Artifact” with
Milkhaus,LLC if they are selected as the grant recipient for the above mentioned Funding Opportunity.
I affirm that I am a contractor who will be hired by Milkhaus,LLC to fulfill this role, and that I am available
to perform my duties in this role during the contract period with NIST.
The work I will complete on the film is as listed in the proposal: I will work with the other Producer (Cathy
Trekloff) to coordinate shoots with scientists and crew, arrange travel, secure permits where necessary,
maintain schedule, distribution agreements, personnel & third party payments, contractual obligations,
insurance, budget tracking, and the like.
My compensation for my participation in the film will be based on actual numbers of days worked on the
project. The budget currently listed for my position on the film is $21,575.00
Please feel free to contact me at your convenience should you have any questions.
Yours Sincerely,
Kerry Deignan Roy
[email protected]
+1.303.886.1605 mobile
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The Last Artifact
LETTERS OF COMMITMENT
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The Last Artifact
LETTERS OF COMMITMENT
LETTER OF COMMITMENT
CONTRACTOR: Brett Purmal
09/23/2016
NIST
100 Bureau Drive
Gaithersburg MD 20899
RE: Funding Opportunity 2016-NIST-KG-01
(To produce the documentary film “The Last Artifact”)
Proposal submitted by Milkhaus, LLC
To Whom it May Concern:
I am pleased to confirm my commitment to serve as the Art Director / Senior Animator on the film “The
Last Artifact” with Milkhaus,LLC if they are selected as the grant recipient for the above mentioned
Funding Opportunity.
I affirm that I am a contractor who will be hired by Milkhaus,LLC to fulfill this role, and that I am available
to perform my duties in this role during the contract period with NIST.
The work I will complete on the film is as listed in the proposal: I will work with the film’s directors to
establish the artistic style of the film, animations, and graphic treatments for the film. I will also serve as
the senior animator.
My compensation for my participation in the film will be based on actual numbers of days worked on the
project. The budget currently listed for my position on the film is $27,000.00
Please feel free to contact me at your convenience should you have any questions.
Yours Sincerely,
Brett Purmal
[email protected]
415.601.2127
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The Last Artifact
LETTERS OF COMMITMENT
LETTER OF COMMITMENT
CONTRACTOR: Robert Muratore
September 24, 2016
NIST
100 Bureau Drive
Gaithersburg MD 20899
RE: Funding Opportunity 2016-NIST-KG-01
(To produce the documentary film “The Last Artifact”)
Proposal submitted by Milkhaus, LLC
To Whom it May Concern:
I am pleased to confirm my commitment to serve as the Director of Photography on the film “The Last
Artifact” with Milkhaus,LLC if they are selected as the grant recipient for the above mentioned Funding
Opportunity.
I affirm that I am a contractor who will be hired by Milkhaus,LLC to fulfill this role, and that I am available
to perform my duties in this role during the contract period with NIST.
The work I will complete on the film is as listed in the proposal:
My compensation for my participation in the film will be based on actual numbers of days worked on the
project. The budget currently listed for my position on the film is $40,350.00.
Please feel free to contact me at your convenience should you have any questions.
Yours Sincerely,
Robert Muratore
[email protected]
303-525-5636
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The Last Artifact
LETTERS OF COMMITMENT
[email protected]
+44 785 004 8884
37
The Last Artifact
LETTERS OF COMMITMENT
Contractor: Neil Hillman
We have a verbal commitment with Neil and confirmation of rate via email for this project. We are
currently in progress of obtaining the signed Letter of Commitment back from Neil. He has been
unavailable while working on another film.
The work Neil will complete on The Last Artifact includes sound design, audio mix for stereo and 5.1
surround sound, sweetening and output of final audio in compliance with United States and International
Broadcast and Theatrical standards. His compensation will be based on actual time worked on the
project. The budget currently listed for his position is $15,500.00.
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The Last Artifact
LETTERS OF COMMITMENT
9/26/2016
Letter of Committment.ColorWheel Music LLC.jpeg
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