Films don't just happen. It takes a lot of work to get everything and everyone together and get it done. We've taken a huge chunk out of that for you- with our team of professional filmmakers we have put the technical side of production into one place: Productions In A Box.
Below you'll find the biographies of our team members, and after reading who we are and what we've done, our hope is that you'll see that PIAB is the perfect solution for reducing production tech support headaches. Lights, Camera, Sound: all in one fell swoop. How easy is that?
Productions In A Box is the ideal choice for the following:
Give us a call and let's get it done.
John "Fergy" Ferguson
Born in Toronto, Ontario, Canada, John ‘Fergy’ Ferguson grew up in the motion pictureindustry. His father was a (camera operator?) for the CBC, his uncle, a commercial production producer. Much of his youth was working in major lighting and grip rental houses, such as Jack Frost and William F. White Lighting. Serving as an Apprentice on commercials and movies to learn his craft, he continued tohone his skills auditing classes
at Ryerson Poly-tech Institute and courses sponsored by the Camera union IATSE local 644 and Cinequip Camera Rentals in Toronto.
While working for (Cinevision) Panavision Canada Ltd Camera and Lighting rental house from 1976- 1980, ‘Fergy’ was often hired in the lighting electrical departments on numerous national commercials. After working as the house gaffer for a large commercial production houses Boardwalk, Partners Films one of the world’s largest commercial production houses.
‘Fergy’s’ first big feature film was as a generator operator on ‘Nothing Personal’ with Donald Sutherland and Suzanne Sommers where he met his wife to be.
In 1981, he married Vicky and relocated to Washington, D.C. He took over R & R Lighting in Silver Springs, Maryland, and worked consistently on features films, commercials, and handled all the lighting needs for President Reagan’s press conferences, as well as the lighting design.
When Dino DeLaurentiis built DEG Film Studios in Wilmington, North Carolina, ‘Fergy’ was contracted to assist with the Studios’ lighting needs, and then on such DEG feature films as Cat’s Eye, Silver Bullet, King Kong Lives, Weeds, Traxx etc. Late 1985 Fergy & Vicky officially relocated to Wilmington, where he continued to work as gaffer on large scale features such as
Manhunter, Bull Durham, Teenage Mutant Ninja Turtles, etc. During this time Fergy met with Producers Paul Pompian and Robert Greenwald which took him on location to Toronto ,
Pittsburgh and LA shooting MOWs. As Wilmington grew into a major production hub, the work continued, bringing consistent feature films and made for television ‘Movies of the Week.’
In 1987, ‘Fergy’ & Vicky opened Cine Lighting Services, and in 1993 merged with long-time associate William F. White, Ltd as Cine Partners Inc. offering production gear and tech support. Throughout the years, Fergy continued his work as Gaffer around the world on features, such as Don Quixote. The Lost Empire, Cinderella Man, Zoom,
Max Steel, etc. as well as national commercials, and made for TV movies, with Vicky working as Production Manager, on Commercials, Music videos while co-running their rental business.
The saga continues...
Joe Dunton, MBE BSC
Joe Dunton began his career in the motion picture industry more than 40 years ago as a Video Engineer with Pye London Ltd.
Whilst out repairing a security camera at Samuelson Film Services, he was offered a position in the sound department on the feature film Le Mans, which, following a delay, later starred Steve McQueen. He then converted a Mitchell Camera for Ossie Morris for use on Oliver, which helped lay the foundation for video assist as we know it today. Joe worked for six months on Oliver on Video Assist and with 400 dancers and seven choreographers it really made an impact. This experience fed his fascination with Anamorphic and Video Assist and in 1976 he started his own company, Joe Dunton Cameras (JDC). Among his inventions to aid Camera Operating, Joe made the first heated eyepiece, the Ladderpod and the first Video Assist for the Looma, the Moy Bazooka and the Mitchell Vitesse geared head; the first head to tilt up and down 90 degrees each way.
During his years in the industry, Joe has received many awards, the highlight of which was receiving the M.B.E. (Member of the Order of the British Empire) in the 1998 Queen's New Year's Honours List for his services to the camera and film industry.
Recipient of both the GBCT David Lenham Award and the BSC ARRI 'John Alcott' Memorial Award, Joe was presented in 1992 with the BSC Bert Easey Technical Award for the development of the J. D & C Anamorphic lens system and in 2007 with a Cine Gear Lifetime Achievement Award. He is also a long serving Governor of the British Society of Cinematographers.
In 2010 Joe was honoured by BAFTA with the 'Outstanding Contribution to Cinema in recognition of his long and influential career. He was presented with the Award by Academy fellow in 2009, Terry Gilliam at the Orange British Academy Film Awards on Sunday 21 February 2010.
His passion for anamorphic is legendary. His association on hi profile production with Matthew Leonetti on Stephen Spielberg's 'Poltergeist' and with Oscar winning cinematographer Chris Menges BSC on The Mission helped showcase his ardour for this format. Following his long alliance with Stanley Kubrick, which started with Clockwork Orange (1971), and continued with Eyes Wide Shut.
Joe has, since Stanley's death in 1999, been instrumental in illustrating Stanley's appreciation of the importance of the fine lenses which enhanced his motion pictures. Joe Dunton has supplied gear and tech support to dozens of critically acclaimed films including the Harry Potter trilogy.
Joe is forever keen to embrace new technology and was the founder of the BSC Technical Committee. Forever inventive and ever eager to experiment to achieve the directors and cinematographers vision, the late great Freddie Francis BSC thought that Joe, like an Oracle, should be 'locked in a room available for consultation at all times'.
When Dino De Laurentiis purchased a film studio in Wilmington, NC he called Joe and asked him to come be a part of it. They had worked together on films like, Flash Gordon together back in Europe. Joe has since had a camera rental house in Wilmington NC since 1984 and is an outspoken advocate for the town. He believes it has an established and experience crew base that is hard to beat. Also the variety of locations it offers is unparalleled to many States. Moreover he, like many filmmakers and their families, loves living in Wilmington. He has provided equipment to many shows over the years, from Firestarter and Blue Velvet right up to Iron Man 3. He also supplied the gear to Matlock, Dawson's Creek, One Tree Hill, and Secrets & Lies among other long running TV shows that have filmed in Wilmington.
A long-time supporter of independent film, Joe Dunton has served as an advisor and panelist on international and regional film festivals, and as a mentor and technical consultant on scores of indie productions, helping to launch the next generation of media makers.
“Writer, Producer of Independent films, documentaries, promotional videos & special events, that begins to describe her. But you have to add film industry ambassador, lobbyist, community activist for social justice and equality, and most of all, mentor...” -Cinematic Wilmington
Filmmaker and activist, FRANCINE DeCOURSEY’s ON LOCATION Production Services has supplied Locations, Cast, Crew, and Support Services for over 100 feature film and television productions, making her a respected resource for anything related to production in the Southeast. A sample of her film and TV credits include Writers, One Tree Hill, Freedom Song, Twilight Zone, When We Were Colored, Touched by an Angel, Black Dog, etc.
Early on the NC Film scene, DeCoursey innovated creative ways to combine her event coordination and promotion skills and ‘positive social change’ consciousness with the budget-conscious requirements of filmmaking. She initiated producing crowd scenes in movies as ‘Casting Events’ with volunteer extras, saving major production dollars, while raising much-needed funds for local worthy causes. DeCoursey produced the carnival scene in Sleeping with the Enemy as a fundraiser for the Domestic Violence Shelter and the Education Foundation; the ballroom scene in Stompin’ at the Savoy created scholarships with the United Negro College Fund for local minority performers; the lottery scene in 29 th Street raised money for the Red Cross and the Empty Stocking Fund.
As liaison between all film production departments, the charities, the media, and the community, DeCoursey earned her producing skills and respect from her peers ‘in the trenches.’
A Producer of Independents and a leading force in the Independent Film movement, she initiated and helped launch ‘NC VISIONS,’ a PBS–TV showcase of NC independent filmmakers, which ran for 20 years, broadcasting over 400 NC Indie films. Now leading the ‘Focus on Film’ Initiative, DeCoursey has produced Southeastern Media Institute Film; Technology Expos, Future Arts Regional Conferences, taught film classes at Duke University, UNCW, UNCG, CFCC, community colleges, high schools, and film festivals across the Southeast. National public speaker and regular guest on regional media, DeCoursey’s Women United and Calling All Colors initiatives continue to demonstrate her commitment to empowering women and cultural diversity in the media…and the power of media for positive social change.