GoodSide Studio goes to the Seattle International Film Festival

A couple months ago I sat in line for a film at the Seattle International Film Festival and reflected on how many regular GoodSide Studio freelancers had key roles in films at SIFF this year. I was there to see Safety Not Guaranteed because a couple of those regular crew members who often work for GoodSide helped make the film. Jeremy Mackie, who is often a Gaffer and Director of Photography for GoodSide projects was the Gaffer this film and Mark Bueing, Grip from this film is often seen as a Grip on GoodSide shoots.

The previous night I saw Ira Finklestein by Sue Corcoran. Mark Simon, the well known Seattle Director of Photography who shot this film shoots a number of GoodSide projects, plus, Jeremy and Mr. Bueing worked on Sue’s film as well.

Siff’s opening night film was Lynn Shelton’s My Sister’s Sister. Once again Jeremy Mackie was the gaffer for this film (the guy gets around) and Sound Guy, Vinnie Smith, is a regular both on Lynn’s shoots and on GoodSide’s.

Sean Donavan and Fred Beahm are two editors who often cut GoodSide projects, and each of them have films playing in the festival.

A noteworthy GoodSide regular is Director of Photography, Ian Connors. While he doesn’t have films in SIFF this year, he also has an impressive list of accomplishments, including a documentary that was recently shown on CNBC and another that has done very well on the international festival circuit.

There are more, but you get the idea. The faces you’ll see on a GoodSide Studio shoot and editing your marketing or training video are the same ones you’ll see on a top notch feature film or a big budget project for a major agency in town. I’m proud to say that GoodSide hires only the best film professionals in Seattle.

I’m also proud of GoodSide’s role in helping to build the Seattle film and video production community. I’m not sure there is anyone in Seattle who makes a living solely working on feature films. Corporate videos, like the kind we produce are often the bread and butter that make it possible for talented film professionals to stay in the industry between features.

It’s a more than fair trade. The crews we hire have benefitted from the extremes of working on features. They’ve learned their chops – styles and techniques that they bring to every project on which I hire them. They are the best of the best!