Dave Macomber

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Dave Macomber Gender: Male Height: 5 ft. 8 in. Weight: 165 pounds Eyes: Green Hair Length: Short Waist: 30 Inseam: 30 Shoe Size: 9.5 Physique: Athletic Coat/Dress Size: 40R Ethnicity: Caucasian / White Photos Film Credits Hollywood Adventures Fight Coordinator Entourage Stunts Savannah Sunrise Stunt Coordinator Seventh Sun Stunts Transformers: Age of Extinction Stunt Double: Mark Wahlberg Sabotage Stunt Double: Sam Worthington / Fight Coordinator R.I.P.D Stunt Performer Iron Man 3 Stunts / Utility Stunts Television Banshee (24 Episodes) Stunt Performer / Stunt Double Banshee (Multiple Episodes) Fight Coordinator Banshee (Multiple Episodes) Stunt Coordinator Most Daring (40+ Episodes) Stunt Coordinator Powers Stunt Performer The Vampire Diaries Stunt Performer Generated on 09/26/2021 09:38:54 pm Page 1 of 2 Commercial Stage Music Videos Motion Capture Guild Affiliations SAG / AFTRA Stunt Teams Stunt Skills Stunt Skills: Squibs, Fight-Guy/Gal - General, Martial Artist, Certified Scuba Diver - PADI, Rappelling, Wire Work, Hong Kong Wire Work, Fire Burns, Weapons ~ General, I Ground Pound, Martial Arts: MMA, Martial Arts: Jujitsu, TRAINING: Rick Seaman's Super Level 1, Stunt Driving, Martial Arts: Karate, Martial Arts: Krav Maga, Martial Arts: Eskrima, Martial Arts: Judo, Martial Arts: Aikido, Martial Arts: Grappling, Martial Arts: Greco-Roman, Martial Arts: Wushu, Weapons: Sword, Weapons: Knife, Weapons: Nunchaku, Weapons: Katana, Sword Master, Prat Falls, Martial Arts: Hap Ki Do, Martial Arts: Black Belt, Weapons: Dagger, Weapons: Broadsword, Footfalls, Stage Fighting, Martial Arts: Kick Boxing, Weapons: Sword & Shield, Weapons: Rifle - AR-15, etc., Weapons: Shotgun, Martial Arts: Wing Chun, Martial Arts: Taekwondo, Martial Arts: Kali, Weapons: Military Unique Talents: Experienced Previz editor. Premiere, After Effects, Audition, Cinema 4D. Athletic Skills: Boxing , Martial Arts, Fencing, Wrestling, Yoga, Grappling, Tae Bo Accents: Spoken Languages: Dance: Training Awards References Stunt Skills Work History: Commercial, Film, Internet Projects, Television Job Categories: Editing, Stunts, Visual Effects, Stunt Coordinator, Fight Coordinator, Fight Choreographer, Stunt Rigger, Stunt Double, Consultant (MMA), Stunt Performer Prior Job Title(s): Stunt Coordinator, Fight Coordinator, Stunt Double / Stunt Performer Are you willing to work Globally?: yes Authorized to work in United States?: yes What state are you considered a Local Hire?: What state are you considered a Local Hire?: Do you have a valid passport?: yes Generated on 09/26/2021 09:38:54 pm Page 2 of 2.

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WALLY CROWDER 2ND UNIT DIRECTOR/STUNT COODINATOR [email protected]
WALLY CROWDER 2ND UNIT DIRECTOR/STUNT COODINATOR [email protected] MOTION PICTURES 2015 Monster Trucks (Stunt Performer) 2015 Kidnap (Assistant Stunt Coordinator) 2015 Self/less (Stunt Driver) 2015 Furious Seven (Stunt Driver) 2014 Alexander and the Terrible, Horrible, No Good, Very Bad Day (Utility Stunts) 2014 The Barber (Stunt Driver) 2014 Let’s Be Cops (Stunt Driver/Stunts) 2012 This is 40 (Stunt Driver) 2011 Jeff, Who Lives at Home (Stunts/Actor-Fisherman) 2011 Larry Crowne (Stunts) 2010 Uncle Nigel (Stunt Coordinator) 2009 A Christmas Carol (Stunts) 2009 Angels & Demons (Stunt Performer) 2009 12 Rounds (Stunt Performer/Actor-Streetcar Conductor) 2009 The Smell of Success (Stunts) 2006 The Last Time (Stunt Coordinator) 2005 Red Eye (Utility Stunts) 2005 The Dark (Stunt Coordinator) 2003 Basic (Stunts) 2003 House of 1000 Corpses (Stunt Performer) 2003 Old School (Stunts) 2003 War Stories (Stunt Coordinator) 2003 The Street Lawyer (Stunt Coordinator) 2002 Women vs. Men (Stunt Coordinator) 2002 Outta Time (Stunts) 2001 Rock Star (Stunts) 2001 Training Day (Stunts) 2001 Lying in Wait (Stunt Performer) 2001 Double Take (Stunts) 2000 The Adventures of Rocky & Bullwinkle (Stunts) 2000 Hot Boyz (Stunts) 1999 Avalon: Beyond the Abyss (Stunt Coordinator) 1999 House on Haunted Hill (Stunts) 1999 One Last Score (If…Dog…Rabbit) (Stunts) 1999 NetForce (Stunt Coordinator) 1998 The Siege (Stunt Performer) 1998 With Friends Like These… (Stunt Coordinator) 1998 Point Blank (Stunts) 1997 Acts of Betrayal (Stunts) 1997 Gone Fishin’ (Stunts) 1997
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Safety Responsibilities Stunt Coordinator
Safety Responsibilities Stunt Coordinator Safety Program Information for Stunt Coordinator The following information is for your specific position and is provided to help you understand your extremely important part in your Production’s Injury & Illness Prevention Program (IIPP)/Safety Program. Responsibilities of the Stunt Coordinator The Stunt Coordinator is responsible for the safe performance of stunts and supervision of all persons involved, and is responsible to effectively coordinate with the Special Effects Coordinator and, at Pre- Stunt/FX meeting, to communicate stunt action to ensure understanding and safety of all involved crew. This meeting should be documented in the daily Production Report. Production Start-Up 1. Visit safetyontheset.com to familiarize yourself with the safety information available, (AMPTP Safety Bulletins, Tool Box Talks, etc.) and to read the Production Safety Manual. 2. Hire only Stunt Coordinators knowledgeable in the action they will be supervising. Hire stunt players who have the proper training and who understand or have previously demonstrated the similar work they will be asked to do. Stunt Coordinators performing their own stunts need a second stunt person to act as Stunt Coordinator during the sequence. 3. Hire only employees who have the proper safety training for, and who understand how to safely perform, any task they are asked to do. On Production Implement the IIPP: 1. Discuss all potential safety concerns with the Location Manager, Line Producer, Special Effects, Stunt, Transportation and Construction Coordinators, and key department heads during the script read through. 2. Conduct or arrange safety training for all Stunt employees and appropriate cast and crew members: a.
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List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter .
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Covid-19 Pandemic Production Guide
THE BC MOTION PICTURE INDUSTRY COVID-19 PANDEMIC PRODUCTION GUIDE 7J PERFORMERS August 2020 This is an excerpt from The BC Motion Picture Industry COVID-19 Pandemic Production Guide 7J 7.J. PERFORMERS These guidelines are intended to provide guidance to employers/producers, supervisors and workers on identifying and mitigating potential COVID-19-related workplace hazards applicable to performers including: actors, animation performers, background performers, choreographers, dancers, narrators/commentators, photo-doubles, puppeteers, singers, stand- ins, stunt coordinators/performers/riggers, vocal/dialogue coaches, voice over performers. and musicians. Also refer to the Hair/Makeup/Costume Guidelines, the Office Guidelines, the Camera Guidelines, and the Transportation Guidelines, and the General Technicians Guidelines (VFX: Scanning and Motion Capture) as appropriate. Performers interact with multiple departments on a production and there is a high likelihood that they will be required to work in close contact with other performers and crew. A suite of controls should be considered in order to protect the health and safety of performers and minimize the risk of transmission of COVID-19. In general, physical distancing requirements between performers does not apply to performers who reside in the same household. GENERAL WORKPLACE POLICIES In addition to guidelines in Section 2.A., consider the following: 1. Scenes involving singing, loud yelling, or the use of wind instruments may increase the risk of transmission. Where possible, film these outdoors and/or ensure adequate distancing between people. 2. Filming large crowd scenes outdoors where possible and limiting the amount of time spent filming these types of scenes. 3. Requiring that animals and their trainer only enter set when immediately needed and that interaction with the animal is limited to the trainer and the performer(s) who interact with the animal in the scene.
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14 Performer Flying & Aerial Stunts Performing Arts Safety Bulletin
Performing Arts Safety Bulletin #14 PERFORMER FLYING AND AERIAL STUNTS Performer flying and aerial stunts involve much greater potential for serious or fatal injury than normal performance activities. This document provides general guidelines for the principles of safe design, risk assessment, rehearsal and performance. OVERVIEW Performer flying and aerial stunts require the supervision of a fully trained and experienced professional stunt co-ordinator, the use of appropriate engineering and specialized equipment. The title of the flying director/stunt coordinator/rigger may vary, but that person, to be qualified, must have the appropriate experience, expertise and ability to ensure a safe and secure work environment in order to give people the ability to create their art. This bulletin uses the title “stunt coordinator” to refer to the qualified person. British Columbia health and safety regulations define a qualified person as follows: they must be knowledgeable of the work, the hazards involved, and the means to control the hazards, by reason of education, training, experience or a combination of these. All parties involved in performer flying or aerial stunts should know who is responsible for each aspect of the effect. DESIGN AND CONSTRUCTION 1. Fly systems should be designed: • for simplicity and reliability in operation, and durability in repeated use; • to ensure predictability and repeatability of motion; • to include a passive secondary that takes weight only if the load-bearing component fails; and • to include a control option to easily permit movement outside the cue sequence in an emergency. 2. Conduct load calculations with due regard to the load capabilities of the components.
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CHRISTOPHER LEPS Kick the Can (Spec Ad) Director, Stunt Coordinator Alex Madison, Producer
FEATURE Spaceman Stunt Coordinator Stephen Nemeth, Producer Dance Camp Stunt Coordinator Jon M. Chu, Producer Book of Swords Stunt Coordinator Wayne Kennedy, Producer Torque Fight Coordinator (uncredited) Neal H. Moritz, Producer The Waiters 2nd Unit Director Kipp Tribble, Producer Clutch Stunt Coordinator Robert Stio, Producer TELEVISION Greenleaf (1 ep.) Cover Coordinator Al Dickerson, Producer RocketJump: The Show (1 ep.) Stunt Coordinator Freddie Wong, Producer Complications (2 eps.) Cover Coordinator Craig Siebels, Producer Burger King Star Wars commercial Fight Coordinator John Landis, Director Angel (1 ep.) Asst. Sword Coordinator Skip Schoolnik, Producer Worst Case Scenarios (1 ep.) Stunt Co-Coordinator Craig Piligian, Producer Mortal Kombat Conquest (14 eps.) Asst. Fight Coordinator (uncredited) Larry Kasanoff, Producer Out of the Blue Stunt Coordinator Sam Riddle, Producer Chase (spec ad) Director, Stunt Coordinator Alex Madison, Producer CHRISTOPHER LEPS Kick the Can (spec ad) Director, Stunt Coordinator Alex Madison, Producer DIRECTOR STUNT COORDINATOR SHORT FILM STUNTMAN Director, Producer, Writer, Editor Muse (2014) www.imdb.me/christopherleps Wholehearted (2012) www.christopherleps.com Century of Light (2011), [email protected] Ed & Vern’s Rock Store (2008) Cop Sign (2005) 818 . 618 . 5661 Shadow (2004), Saber Duel (2003) Director, Producer, Editor Testing (2015) Amy and Elliot (2009) SPECIAL SKILLS AND ABILITIES Directing | Editing | Pre-Viz | Martial Arts & Weapons (30 years) | Fight Choreography | Driving Sword Work | Mo-Cap | Reactions | High Falls | Mini-Tramp | Wire Work | Air Rams & Ratchets BIO Over the past 27 years, I’ve had a unique adventure in the TV and film industry. My diverse career started at the Walt Disney Company in 1989, but my zeal for cinema was sparked by the movies seen in my youth.
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FAQ About Film Production — 1 Action Movie Makers Training
Action Movie makers training © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 1 Action Movie makers training FAQ About Film Production By Philippe Deseck July 2016 Content • About the Author • What is a Producer? • What is an Executive Producer? • What is a Line Producer? • What is a Supervising Producer? • What is a Co-Producer? • What is a Director? • What is a Unit Production Manager? • What is a 2nd Unit Director? • What is an Action Director? • What is an Assistant Director? • What is a Director of Photography? • What is a Script Supervisor? © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 2 Action Movie makers training • What is Sound Recordist? • What is a Video Split Operator? • What is a Key Grip? • What is a Gaffer? • What is a Safety Supervisor? • What is a Stunt Coordinator? • What is a Stunt Double? • What is a Stunt Rigger? • What is a Choreographer? • When is a Stunt Co-ordinator required on your Production? • An Example of all the Different Departments that work on a Feature Film © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 3 Action Movie makers training About the Author IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1 Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in film, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was first introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki.
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Stuntman •Stunt Coordinator •Professional Driver
•Stuntman •Stunt Coordinator •Professional Driver •2nd Unit Director •Set Safety Officer •Extreme Athlete •TV Personality •Action Actor •Producer ______________ OSHA – 30 CSATF Covid /19 Certified •Film •Television •Commercials •Music Videos •Live Stunt Show STATS Height: 6’2” Weight: 210 Heidi Hydar / Agent Hair: Long Blonde 818-755-7550 Eyes: Blue [email protected] RICH HOPKINS STUNT COORDINATOR / STUNTMAN / EXTREME ATHLETE / ACTION ACTOR L.A. # (323) 691-8705 * Las Vegas (702) 699-5550 FEATURE FILMS Film Position / Role Director Big Life Stunt Coordinator – Stunt Driver Brian Hoffman Art of the Dead Stunt Coordinator Rolfe Kanefsky Smiley Face Killers Stunt Coordinator – Stunt Driver Tim Hunter Lie (India) Assistant Stunt Coordinator / Stunt Performer Hanumantha Rao Raghavapudi Party Bus to Hell 2nd Unit Director / Stunt Coordinator / Fire Stunt Rolfe Kanefsky Anon Man Stunt Coordinator / Stunts / “Rick Newman” Jonathan Heatt Bleach Stunt Coordinator / Stunt Driver Michael Edmonds Any Body Can Dance 2 Precision & Utility Driver Remo Not on My Mountain Stunt Coordinator Jared McVay Viena & The Fantomes Stunt Coordinator Gerardo Naranjo Clarity Stunt Coordinator Peyv Raz Till Luck Do Us Part 2 Stunt Coordinator Roberto Santucci Dark Around the Stars Stunt Rigger Derrick Borte Now You See Me Utility Stunts Louis Letterier Sushi Girl Stunt Coordinator Kern Saxton The Gambler (Hungary) Producer – Line Producer Szabolcs Hajdu First Platoon Stunt Coordinator- Fire Burn & High Fall Chris Gabriel Red Herring Stunt Coordinator/Stunts/Russian
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How to Get Into Stunts
1 The professional stunt industry is a highly competitive field in the film world. It is a tightly knit community of professional race car drivers, world-class martial artists, gymnasts, dancers, circus performers, motocross racers, professional skateboarders and the list goes on. Needless to say, it is also extremely difficult to break into. As a potential stunt performer, you should have something extraordinary to offer the industry. Unfortunately, frequent gym visits, yoga, running, weightlifting and the like simply aren’t enough. There is the occasional “natural athlete” who succeeds but, for the most part, stunt performers come to the job with something major under their belts. In terms of training, there are tons of courses or sports you can sign up for that will help you along your path to becoming a stunt performer — take stunt driving courses, get your motorcycle license, and SCUBA ticket. Train at rock climbing, gymnastics, dirt biking, martial arts, trampoline, circus school, inline skating, diving, cliff jumping, etc. Take courses in acting, rigging, firearms handling and work with all kinds of weapons — there are literally unlimited things you can do to develop your career. The more specific skills you have to offer, the better. A good question to ask someone who wants to get into stunts is, “What is the skill set that you are offering to the industry?” All too often the answer is “I don’t really do anything specific but I’m crazy! I’ll do anything!” Translation: I’m unqualified, irrational and willing to take risks. Great. Except that a stunt performer’s job is to maximize the safety and minimize the risk in an action performance through knowledge, training and experience.
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Definition of Terms
Definition of Terms • AD (Assistant Director): The staff who will direct you on set. AD’s are the right hand of the director at a shoot. • Avail: A casting director asking a background actor if he/she is available to work. It is not a legal or contractual status. • Back to One: Announced on set meaning for the cast and crew to return to their 1st position of action in a scene. • Background Actor: (Extras, atmosphere, background artist, non-principal performers) that set the scene by movement in the background. They make the scene come to life. “Background” is also used as a cue for the background actors to begin movement. • Background Coordinator: Usually hired to aid AD’s on unusually large extra’s calls. They aid in signing Background Actors in and out and help with background related issues. • Booking: A background actor been hired, “booked” for a job. • Basecamp: The area set up and designated by production as the main communication hub and check in area (usually on location shoots). • Bump: Money paid to a performer, over and above their base wage for being directed in doing or bringing “something extra” in the scene. • Call Time: The time to be on the set, checked in, and ready for work. (This information will be given to you prior to work by the Casting Director). • Call Time Change Box: A four-digit number given to background actors by the casting director when they are hired. To access the call time change box, call (818)562-2966 then enter the box number followed by the # key.
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Production Job Descriptions
New Mexico State Film Office / 2017 Industry Job Descriptions ABOVE-THE-LINE and BELOW-THE-LINE “Above-the-line” (ATL) is an industry term derived from where the money is budgeted for Writers, Directors, Producers and Principal Talent. This term refers to job positions that are associated with the creative and/or financial control of a film or multimedia project, not the technical aspects. “Below-the- line” (BTL) is an industry term associated with the “fixed” costs. Examples include studio fees, equipment rental, travel costs and crew rates. Therefore, BTL crew refers to the technical crew hired for the length of the production, often paid hourly or weekly for that time period. These individuals do not have primary creative or financial control of the project, nor do they receive residuals. BTL DEPARTMENT HIERARCHY Starting at the top, the Director hires the Production Designer and the Director of Photography (DP) while the Producer hires the Line Producer and/or Unit Production Manger (UPM). The Production Designer, DP and the Line Producer/UPM then go about hiring their Department Heads, Supervisors and Keys. The Key is considered the top-ranked technical, BTL position in a department. In some departments, the Key is referred to as a Coordinator; in locations, it is the Manager and in camera, it is the Operator. The Key hires the “Best Boy” (or a Foreman) who is second-in-command, acts as an operations manager and hires the rest of the crew in their department. There is only one person hired in the Key and Best position in each department in a regional location (such a New Mexico).
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Liberal Arts Overview Theatre at Albright Theatre
LIBERAL ARTS OVERVIEW Many majors, such as Theater and Anthropology, give students experiences they need to succeed in a variety of areas. Our Theater major can give students many skills to thrive in other fields. Students from our Theater major have also gone into the fields of education, human services, and business. Their courses, projects, and involvement have given them “transferable skills,” which are skills that can be used for most careers. Some transferable skills learned by Theater majors are creative thinking, communication, teamwork, and problem solving. The core of Theater is to use the arts to understand the world around them. In turn, this helps students feel comfortable working with others who may not have the same values, beliefs, and vision, and helps them to appreciate those with differing views. Students in Theater will gain and understanding of themselves and the world around them. THEATRE AT ALBRIGHT At Albright, the theatre is a place for passionate conversations. As one of America’s Top 25 Schools for Artistic Students (Newsweek, 2011), it goes without saying that at Albright, “all the world’s a stage”. Whether you're an aspiring actor, a budding playwright, a visionary director, an audacious designer, an enterprising stage manager, a probing dramaturge, an industrious technician, an eagle-eyed critic, an tenacious arts administrator -- or, just a good old-fashioned theatre lover, we offer you the opportunity to expand your skills, your appreciations, and your professional horizons in the way that makes perfect sense for you and your future. Beyond this, we will encourage and challenge you to examine your artistic discoveries through the broader lens of a global context that comes from the Liberal Arts approach to learning we champion at Albright.
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