Motion Picture Information

Calgary, Alberta is a three hour flight northeast of Los Angeles and has some of the best film production locations in the world. This international city of one million people is one of the fastest growing in North America. Strong economic growth has attracted the country's youngest and most affluent population. This in turn has led to the development of a vibrant modern dining, arts and cultural scene. Within an hour's drive of Calgary you will find mountains, forests, prairies, badlands, rivers, lakes, small towns, several western movie sets and wide open spaces.

Motion Picture Departments

Department Requirements Tools
Accounting ACC None
Art/Production Design ART None
Construction CON CON TOOLS
Editing EDI None
First Aid / Craft Service FACS FACS TOOLS
Lighting / Electrics LE LE TOOLS
Paramedic PAR None
Props PRO None
Script Supervisor SCR None
Security / Watchman SEC SEC TOOLS
Set Decorating SET SET TOOLS
Sound SND None
Special Effects SPE SPE TOOLS


How to apply for Motion Picture

Step 1: To the left are Motion Picture Departments, please go through and decide which department, to a maximum of 2 departments, best suits your skills and education. Be sure to complete any department requirements as noted. Step 2: Complete the Motion Picture Permit Application.

Please be sure ALL requirements have been met prior to submitting your application to IATSE 212 - INCOMPLETE OR PARTIAL APPLICATIONS WILL NOT BE ACCEPTED.

These documents are in PDF format. To view them you will need Adobe Acrobat Reader
  • Motion Picture Permit Application Form
    The Set Etiquette & Protocol course is a mandatory requirement of ALL Motion Picture departments. Please be sure to include a copy of your card or register with IATSE Local 212 for the next upcoming course.
  • Sister Status Application Form
    This form to be used by Members of the IATSE. Be sure to include a letter of good standing from your home local.
  • Set Etiquette & Protocol Course
    The Set Etiquette & Protocol course is a mandatory requirement of ALL Motion Picture departments. Please be sure to include a copy of your card or register with IATSE Local 212 for the next upcoming course.
  • Motion Picture Evaluation Form
    The Motion Picture Evaluation Form should be completed by your Head of Department or First Assistant after you've completed a work call. The form should be submitted to the IATSE Local 212 Office.
  • Department Activity Form
    If you are already listed with IATSE 212 use this form to update your file and make changes.
  • Membership Application
    To be completed when 60 days/480 hours have been completed under an IATSE 212 Collective Agreement.

To SUBMIT questions or your application please contact
Fax: 403-250-9769
Toll-Free Fax: 1-866-246-4178

Motion Picture Dispatch - How it works

The Union operates a dispatch system based on qualified seniority. The seniority number is based on a person's induction date into the Union. Qualification is determined by the Departments, based on testing, certification etc.

Here is how it works:

A production may hire any member in good standing as they deem to be qualified. They must hire a member over a permit, providing the member is qualified for the job. Crewing is usually left up to the Heads of Department. A production may also choose to go through the Union Dispatch system. Before a Department Head or Employer can go off the Membership list, the Union must first, verify that there are no qualified and available members who have not been offered the work The Union Dispatch person goes to the department list and phones those people who are listed as 'available', in order of their seniority number. This availability designation is up to the members and permits to keep up to date. You can do this on the secure website within your Member Availability page on your profile or by phoning Film Dispatch @ 403-250-5562

The allowed time for individuals to respond to the call is as follows:
  • Calls placed more than 72 hours in advance of the call: A member/permit has 6 hours to respond or they relinquish their right to the call.
  • Calls placed 24 to 72 hours in advance of the call time: A member/permit has 2 hours to respond.
  • Calls placed less than 24 hours in advance: The first available member/permit reached in person shall be offered the call.
It is essential for people to respond to the calls as quickly as possible whether or not they want the job. This frees up the Dispatch person to proceed down the seniority list to fill the positions in a timely manner. All Hall Calls are placed by seniority in the above manner. In the event that there are no members to fill the position, the Dispatch person will proceed to the permit list. There is no seniority to the permit list. A Department Head may request any permit over another permit. If none are specified, then Dispatch will call the permits in a rotational order, trying to make sure everyone gets a chance to work.

You can enhance your chances of working by:
  • Being reachable. Have an answering machine or pager. Carry a cell phone.
  • Checking your messages frequently.
  • Updating your availability as soon as you have finished work on a project.
  • Taking calls. Be as available as you can for short notice calls.
  • Being a valuable worker. Update your skills. Work cooperatively without attitude.

New Members

You've accepted your first Union call to work. Congratulations! NOW WHAT?!
Be sure to get the following information when accepting a call:
  • The name of the production or production company
  • The phone number of the production company (This can also be accessed on the website) Shooting Schedule
  • The time of your call
  • Your rate of pay
  • The location or venue of the work
  • A map if necessary
  • Who you will be reporting to
This information may not be available from Dispatch. Phone the production company directly for these details. if needed.
The specific tool/kit requirements are listed on the website under each department; see Department Tool Requirements

Useful Information

Dress Code

Be sure to dress for changing weather. Keep additional winter gear in your vehicle. You never know when the weather will change even in the middle of summer.
Come to work clean, and in clothing suitable to the filming location. Short shorts, muscle shirts, clothing with offensive slogans, and bare midriffs are often forbidden by production companies.

Be On Time

Give yourself plenty of time to get to your call. Consider traffic and road conditions. Do not be late.
Upon arrival, report to your Department Head or Crew Supervisor to be given your work tasks. Always follow the instructions you have been given. There are no stupid questions, but there are better times than others to ask them. Unless safety is an issue, save your questions for a slow time; not when everyone is under the gun to get things set up. Beyond anything else, work safely. If you are asked to do something that you feel is unsafe, you have the responsibility to speak up. If you do not know how to do something, admit it. Do not put others in jeopardy by doing something the wrong way.


Movie productions often provide breakfast for the crew. This is on your own time prior to the start of your work day. The catering and eating tent are located in an area called 'the circus'' which is often close to crew parking but away from the filming location.
On a movie set, a catered lunch is provided. It occurs at the beginning of the 6th hour of work after Crew Call. It is either an hour or a half hour in length, with the time measured after the last IATSE member has been served. Snacks and drinks are available throughout the day at the Craft Service table. If you are working at a Theatre or on a non-shooting crew, you should bring your lunch. In most cases, a break away lunch is not possible.

Set Etiquette

Do not leave your work area without notifying someone in your department. There are washroom facilities on every set. Carry hand sanitizer with you if there is no water available for hand washing.
On a movie set, it is forbidden to take pictures. Candid shots of performers is definitely a no-no! It is also frowned upon to engage in conversation with the Director or actors unless they initiate it. Everyone is there to work. Do not, under any circumstance, report details of a movie or movie set on a blog, chat room, social network site, or to your friends.
Never be caught on a film set with your cell phone ringing! The embarrassment does not outweigh the consequences! Turn them off or leave them in your car.
Be the best you can be. Work efficiently and happily. Leave your troubles at home. Get along with the others in the department. Think ahead. Be proactive.

Getting Paid

Be sure to fill out a start pack. You cannot get paid without one. You will get this from your Department Head or Crew Supervisor. If you are unsure of anything, be sure to ask. You will also need to fill out a time sheet. These are filled out in military time. Military time does not have am or pm designations. It is based on a 24 hour clock. Therefore, 1am to noon becomes 100 to 1200. 1pm to midnight becomes 1300 to 2400. On film sets you are paid in 6 minute increments or .10 of 60. You adjust your time out to the next increment of 6. So, if you are clocking out and your watch says 5:15pm, you would put 1718 on your timesheet. The Theatre and Stage contracts vary in their pay increments; although most are in 15 minute increments. Ask your Department Supervisor if you are unsure.
When the work is done or you have been released, clean up quickly and sign out. Leave your time sheet with your Department Head. They will check it, sign it and turn it in to the Production office. Your cheque will be available at the Production office on the Friday of the following week.

Permit Hours

Carry permit evaluation forms with you. You need your Department Head to fill these out and send them in on your behalf. You can obtain these forms from the Union office. Keep your paystubs as proof of the work you have done.


Information regarding our Motion Picture Agreements is private and secured via login.
Please click the following link, login and you will be able to view the current Motion Picture Agreements for our Union:


This information is provided to our members as a service of the union and should not be disclosed to non-members.
Please click the following link and enter your login information to access the maps for Film Locations:
View Maps


Pre-P = Pre-Production Date
Shoot = Shoot Date
Wrap = Wrap Date
Print Page
Show Name Type of Show Pre-P Shoot Wrap
Fargo - Season 3 :: TV Series9/21/2016 :: 12/1/2016 :: 4/30/2017 

PC: Michelle Gougeon Phone: (403) 454-8873
PM: Leslie Cowan Phone: (403) 454-8873
1st Assistant Accountant (Payroll): Sandralynn Trent
1st Assistant FA/CS: Alanna Richards
1st Assistant FA/CS: Sarah Shaw
1st Assistant Hair: Judy Durbacz
1st Assistant Hair: Penny Thompson
1st Assistant Makeup: Danielle Hanson
1st Assistant SPFX: Jesse Weber
1st Assistant SPFX: John Frosst
1st Assistant SPFX Makeup: Tea Scott
2nd Assistant Art Director: Melissa Neumiller
2nd Assistant FA/CS: Christa Holten
2nd Assistant SPFX: Raemie Doll
2nd Assistant SPFX: Kevin Gilmore
A Dolly Grip: Latif Cavanaugh
Art Department CoOrdinator: Errin Massolin
Art Department Trainee: Kim Morrison
Art Department Trainee: Caitlyn Rowland
Art Department Trainee: Nathan Blackie
Art Director: Larry Spittle
Art Director: Bill Ives
Assistant Art Director: Marie Massolin
Assistant Costume Designer: Adejoke Taiwo
Assistant Makeup Head: Joanne Preece
Assistant On-Set Dresser: Brian Curtis
Assistant PC: Meghan Westelmajer
Assistant Props Master/Armourer: Greg Auch
Assistant Set Decorator: Lee Campbell
B Dolly Grip: Chad Ferguson
Background Costumer: Tannis Moore
Best Boy Greens: Eugene Gogowich
Best Boy Grip: Travis Ontkean
Best Boy LX: Kyle Mrazek
Best Boy Rigging Grip: Gary Winter
Best Boy SPFX: Wade Maurer
Boom Op: David Brown
Breakdown Artist: Kim Lennox
Carpenter: Alex Debolt
Clearance CoOrdinator: Sam Gainer
Construction CoOrdinator: Leonard Ayotte
Costruction Buyer: James Kilcher
Costruction Foreman: Barry Debolt
Costume Buyer: Judy Mitchell
Costume Designer: Carol Case
Costume Set Supervisor: Brook Hesseln
Costume Supervisor: Michelle Carr-Johnston
Costumer: Judy Mitchell
Daily 2nd Assistant Makeup: Amanda Rye
Daily Graphic Artist: Fred Holliss
Daily Graphic Artist: Jennifer Bain
Dimmer Board Operator: Kalyna Conrad
DOP: Craig Wrobleski
DOP: Dana Gonzales
Gaffer: Tom Kolafa
Genny Op: Terry Arnholtz
Graphic Artist: Ty Semaka
Grip: Stephanie Muir
Grip: Kyle Robson
Grip: Joe Hirsch
Head FA/CS: Hilton Laural
Head Greens: Tom Yaremko
Key Grip: Mark Woodgate
Key Hair: Chris Glimsdale
Lamp Op: Francis Padilla
Lamp Op: Robert Eaton
Lamp Op: Sam Horvat
Lead Carpenter: Pierre Bartlette
Lead Dresser: Jared Lowen
Lead Dresser: Rachel Nickerson
Lead Scenic Carpenter: Michael Rodrigues
Lead Set Dec Buyer: Colin Paul
Makeup Department Head/SPFX Makeup Designer: Gail Kennedy
Night Genny Op: Murray O'Shea
On Set Standby/Scenic Painter: Chauntel Swann
On-Set Dresser: Matthew Carswell
Paint CoOrdinator: Crystal Husum
Paint Foreman: Jeffrey Anthony
Prep Script Supervisor: Sabrina Paradis
Production Accountant: Leslie Maynes
Production Designer: Elisabeth Williams
Props Assistant: Jason Eskeland
Props Assistant: Tye Blackie
Props Buyer: Bonnie Jones
Props CoOrdinator/Buyer: Wendy Haffner
Props master: Justin Onofriechuk
Rigging Best Boy: Chad Martin
Rigging Gaffer: Paul Connolly
Rigging Grip: Neil McEwan
Rigging Lamp Op: Colin Allen
Scenic Carpenter: Richard Brouillet
Scenic Carpenter: Joel Hansen
Scenic Carpenter: Lawrence Glover
Scenic Foreman: Barbara Chandler
Scenic Painter: Loyola Lewis
Scenic Painter: Christine McDonald
Script Supervisor: Sandi Cameron
Secuirty Watchman: Ryan Irvine
Secuirty Watchman: Lianne Brandon
Secuirty Watchman: Amin Drummond
Security CoOrdinator: Roland Selkirk
Security Watchman: Ronald Kane
Set Dec Buyer: Laura Cuthill-Luft
Set Dec Trainee: Michelle Chudleigh
Set Decorator: Darlene Lewis
Set Designer: Evan Spence
Set Dresser: Nolanda Albers
Set Dresser: Kevin Thompson
Set Dresser: Jim Sanderson
Set Dresser: Peter Lui
Set Dresser: Shona Knorr
Set Dresser: Rob Orechow
Set Dresser: Sarah Shruger-Thibodeau
Set Dresser: Luke Burton
Set Wireman: Mike Gould
Snow Foreman: Travis Mackenzie
Sound Assistant/Cable Puller: Valerie Siu
Sound Mixer: Michael Playfair
SPFX CoOrdinator: David Benediktson
Storyboard Artist: Al Berg
Truck Costumer: Devora Brown
Tutor: Myrtle Fisher

Wynonna Earp - Season 2 :: TV Series11/7/2016 :: 12/15/2016 :: 4/17/2017 

PC: Tracy Noga Phone: (587) 356-1768
PM: Doug Steeden Phone: (587) 356-1768
1st Assistant Hair: Tracy Murray
1st Assistant Makeup: Gunther Schetterer
1st Assistant Payroll Accountant: Samantha Nottingham
Art Department Trainee: Heather Brooks
Art Department/ Construction Buyer: Dawn Anne Coulson
Art Director: Jim Phillips
Assistant Art Director: Marion Spencer
Assistant Desginer: Barb Maier
Assistant PC: Cameron Chapman
Assistant Props Master: Cory Wills
Assistant Set Decorator: Marlis Wilson
Best Boy (Grip): Chad Biesenthal
Best Boy (LX): Scott Lutley
Boom Op: Les Pahl
Construction CoOrdinator: Alf Arndt
Construction Foreman: Rob Arndt
Costume Designer: Jennifer Haffenden
Dolly Grip: Tyler (Jinx) Moore
DOP: Gerald Packer
Dresser Trainee: Chrstian Humphries
FA/CS: Laural Hilton
FA/CS 1st Assistant: Alanna Richards
Gaffer: Tim Dutchak
Genny Op: Tony Skaper
Grip: James Lehew
Grip: Jesse Adshead
Grip: Kyle Curran
Hair Department Head: Sasha McLaughlin
Head Carpenter: Jason Bartling
Head Greens: Blaine Smith
Key Grip: John Adshead
Key Production Accountant: Anne Marie Cormier
Lamp Op: Shawn Knievel
Lamp Op: Jonathan Humphries
Lamp Op: Sean Badun
Lead Dresser: Jack Lowen
Makeup Department Head: Joanne Jacobsen
On-Set Dresser: Marc Dennis
On-Set Props: Darcy Healy
Paint CoOrdinator: Tom Johnson
Paint Foreman: Aaron McCullough
Production Designer: Ingred Jurek
Props Assistant: Ashley MacMillan
Props Assistant: Ashley MacMillan
Props Buyer: Sherrie Wills
Props Master: Ken Wills
Scenic Carpenter: Patrick (Lex) MacDonald
Scenic Carpenter: Dillon Rampp
Scenic Carpenter: Gord Campbell
Script Supervisor: Marion Milner
Security CoOrdinator: Bill Walton
Set Dec Buyer: Jaclyn Gowie
Set Decorator: Amber Humphries
Set Dresser: Jasmine Howell
Set Supervisor: Patricia Livingstone
Sound Mixer: Mike Markiw
Sound Utility: Ethan Lentz
SPFX 1st Assistant: Dylan Hobal
SPFX 1st Assistant: Rob Gibney
SPFX Supervisor: Leo Wieser
Trainee Costumer: Shelby Bradford
Trainee Poduction CoOrdinator: Robin Haynes
Truck Costumer: Jennifer Crighton

Hold The Dark :: Netflix Feature1/5/2017 :: 2/27/2017 :: 4/15/2017 

PC: Genevieve Bridges Phone: (403) 457-2197
PM: Petros Danabassis Phone: (403) 457-2197
1st Assistant Accountant Payroll: Samantha Nottingham
A Dolly Grip: Clint Silzer
Armourer: Lem Lemercier
Armourer: Ryan Steacy
Art Dept CoOrdinator: Leena Gajjar
Art Director: Paul Healy
Assistant Art Director: Joel Tobman
Assistant Decorator/On Set Dresser: Jason Coxworthy
Assistant Designer: Ann Steel
Assistant Hair Stylist: Linda Nelson
Assistant Makeup: Madison Farwell
Assistant Makeup Artist: Eva Mckenzie
Background CoOrdinator: Jamie Block
Best Boy (Greens): Corey Dambrauskas
Best Boy (Grip): Chris Speers
Best Boy (LX): Amelia Doescher
Best Boy (SPFX): Mike Gibney
Boom Op: Geo Major
Breakdown Artist: Carley Powell
Carpenter Maintance: Rob White
Construction Buyer: Danielle French
Construction CoOrdinator: Warren Simmons
Construction Foreman: John Bouman
Costume Buyer: Benjamin Toner
Costume Designer: Antoinette Messam
Costume Supervisor: Hanne Whitfield
Cutter: Cristina Sierra
DOP: Magnus Joenck
FA/CS Head: Avaline Adshead
Gaffer: Martin Keough
Genny Op: Clayton Budd
Graphic Artist: Jerod Fahlman
Grip: Robert Sawchuk
Grip: Tyler Mandrusiak
Head Greens: John Dambrauskas
Key Grip: Rick Schmidt
Key Hair Stylist: Jo-Dee Thomson
Key Makeup Artist: Sharon Toohey
Lamp Op: David Whyte
Lamp Op: Connor Couzens
Lead Carpenter: Del Rattray
Lead Dresser: Jack Crowells
Lead Greens: Coral Tilbury-Dambrauskas
Metal Fabricator: Mick Lipohar
Metal Fabricator: Tommy Hicks
On Set Props: Ileana Tschabold
Paint CoOrdinator: Aaron McCullogh
Paint Foreman: Lubor Cenak
Prep Costumer: Andre Ricard
Production Accountant: Jennifer Omoth
Production Designer: Ryan Smith
Property Master: Dean Eilertson
Property Master: Johnny Jones
Props Buyer: Tracey Baryski
Rigging Gaffer: Alex Free
Scenic Carpenter: Shayne Johnson
Scenic Carpenter: Fred Norgard
Scenic Carpenter: Mitchell Beaudet
Scenic Paint: Derek Paulich
Script Supervisor: Sabrina Paradis
Security CoOrdinator: Bill Walton
Security Watchman: Mike Walton
Security Watchman: Amin Drummond
Set Dec Buyer: Alex Lingnau
Set Decorator: Alan McCullagh
Set Deisgner (pre-VFX): Amanda Nicholson
Set Designer: Cathy Cowan
Set Dresser: Tony Nagle
Set Dresser: Jason Marschlik
Set Supervisor: Charlotte Robertson
Sound Mixer: Garrell Clark
SPFX Assistant: Chris Macrae
SPFX CoOrdinator: Jason Paradis
Truck Costumer: Hilary Boterman

Hard Powder :: Feature3/10/2017 :: 3/20/2017 :: 4/13/2017 

PM: Warren Carr Phone: (604) 453-4970
1st Assistant FA/CS: Coral Tilbury-Dambrauskas
1st Assistant FA/CS: Sara Dumont
1st Assistant FA/CS: Kimberly Nicholl
1st Assistant Hair: Darryl Filion
1st Assistant Makeup: Emanuela Daus
2nd Assistant Sound: Brad Kita
A Dolly Grip: Paul Sheridan
Art Department Assistant: Sheila Turner
Art Department CoOrdinator: Lyza Heyden
Art Director: Gwendolyn Margetson
Assistant Art Director: Lisa Pouliot
Assistant Art Director: Cathy Cowan
Assistant Costume Designer: JoJo MacDowall
Assistant Propery Master: Phil Gough
Assistant Set Decorator: Cathy Golf
B Dolly Grip: Andrew Pepper
Best Boy: Justin Huta
Best Boy Grip: Stu Lennox
Board/Lamp Op: Justin Graf
Boom Op: Charlie O'Shea
Breakdown: Wendy La Vin
Construction Buyer: Kevin Tomecek
Construction Driver: Al Voth
Construction Foreman (Calgary): Garry Patt
Costruction CoOrdinator: Craig Henderson
Costruction Foreman (Location): Christopher Richardson
Costruction Foreman (Shop): Charlie Campbell
Costume Buyer/Prep: Michael Mew
Costume CoOrdinator: Kurtis Reeves
Costume Designer: Anne Pedersen
Cutter/Stitcher: Slavica Grkavac
Director: Hans Petter Moland
DOP: Philip Ogaard
FA/CS: Allison Yates
FA/CS: Chantal Teasdale
Gaffer: John Helme
Genny Op: John Dines
Genny Op (Night): Jim Gregor
Graphics: Shannon Courte
Grip: Janine St.Jean
Grip: Earl Talbot
Grip: Tom Kazcmarski
Grip: Max Guy
Grip: Richard Russouw
Grip: Leah Blesi
Head Greens: Greg Coombs
Key Grip: Mike "Spike" Taschereau
Key Grip: Gene Keigher
Key Hair: Rob Spina
Key Makeup: Krista Young
Key Rigging Grip: Ivan Hawkes
Labourer: Alan Izsak
Lamp Op: Steve McLean
Lamp Op: Mike Goyert
Lamp Op: Tyler Hepple
Lamp Op: Chris Kralik
Lamp Op: Austin Vangerena
Lamp Op: John Williams
Lead Carpenter (First Aid): Graham Brunskill
Lead Dresser: Steve Lamare
Lead Greens: Mike Hayward
Lead Metal Fabricator: Bob Swan
Lead Paint: Patrick Spavor
Maintenance: Justin Tomecek
Office Costumer: Corrine Larson
OnSet Assistant Property Master: Haida Harper
OnSet Dresser: Cody Larson
Paint CoOrdinator: Barry Kootchin
Paint Foreman/OnSet Paint: Matt Raitt
Paramedic: Ian Kam
Payroll Accountant: Merri Currie
Personal Costumer: Kevin Harrison
Personal Hair & Makeup: Noriko Watanabe
Prep Costumer: Kelli Dunsmore
Prep Costumer: Zina Richardson
Prep Costumer: Lianne Smith
Production Accountant: Melissa Ruffle
Production Designer: Jorgen Stangebye Larsen
Property Master: Graham Coutts
Props: Mike Woodland
Props Buyer: Keej Mullen
Props Truck: Heather Murray
Pyrotech: Tom Blacklock
Rigging Gaffer: Jeff O'Brien
Rigging Grip Best Boy: Allan Belyea
Rigging LX: Stephen Goyens
Rigging LX: Cobe Palfy
Rigging LX: Nikita Berendson
Rigging LX: James Hanson
Rigging LX Best Boy: Daniel Goyens
Scenic Artist: Klaus Grumbach
Scenic Artist: Franklin Leibel
Scenic Carpenter: Greg Winter
Scenic Carpenter: George Lesjak
Scenic Carpenter: Vince Folgizan
Scenic Carpenter: Janice Coats
Scenic Helper: Mike Niven
Script Supervisor: Corey Jones
Security CoOrdinator: Kim Howes
Set Costumer: Amy Schilbe
Set Dec Buyer: Terry Lewis
Set Dec CoOrdinator: Cynthia Burtinshaw
Set Dec Driver: Mark Tyrell
Set Decorator: Peter Lando
Set Designer: Mike Toby
Set Dresser: Jake Lamare
Set Dresser: Jamie Westbury
Set Dresser: J.P Bagshaw
Set Dresser: Gordie Brunner
Set Supervisor: Kelly Shaw
Set Wireman: Brian Shorsky
Sign Fabricator: Rick Janzen
Sign Fabricator: Michelle Janzen
Sign Fabricator: Andrew Glavina
Sound Mixer: Jim Greenhorn
SPFX Best Boy: Michael Gibney
SPFX CoOrdinator: Jason Paradis
Supervising Art Director: Kendelle Elliott
Truck Costumer: Emily Bennett