Angela Lee

Only weeks before SXSW, I found a large venue that had not been secured for any SWSX event which could be used to kick off the scavenger hunt.

I located 2 homes, one elementary school and school bus, spoke to staff in charge and obtained authorization for filming on school property and in and around a school bus where children would be in the cast, and I had only 1 day to do it in.

In one day I located two incredibly awesome homes in Lockhart that the producer working with a local realtor had been unable to find and which were very pivotal to story.

I scouted trendy college exteriors.

I scouted streets and sidewalks and restaurants with large outdoor areas.

I scouted locations for high pedestrian traffic then later went door to door to acquire hundreds of signatures from company owners or managers in front of who's businesses production might film.

I scouted greenhouses.

I scouted rural ranches and stables around Austin for a lush green, Midwestern countrified look and an old fashion country kitchen.

I scouted businesses with unique cubicles. My first and last attempt at craft services impressed the heck out of client and agency. In fact head of marketing took my sign in the bowl of Austin mixed nuts with her that said, "Southwest you're not peanut anymore."

I scouted large granite formations near Mason, located a large hayfield, scouted urban steps and bridges, all of San Jose Hotel. During the shoot I drove the 16 passenger van and made food and coffee runs for client and agency and assisted crew with set up and clean up.

Scouted a variety of Austin music scene locations.

This Canadian production was for History Channel. I Scouted Ballista machine and field, searched salvage yards,located and acquired white van destined for the crusher, had it towed to Ballista field, then worked with visual FX company to manufacture 30 functioning ballista balls, and I assisted during production.

I'm not sure of the Network. Scouted restaurants and their kitchens. Obtained signature on location agreement, then doubled back as script supervisor. (I was a union script supervisor from 2008-2012.)

Scouting from bridges over Town Lake (now Lady Bird Lake) at sunrise and sunset. Location shots to include angles on canoes, kayaks and rowers on the lake below.

This was for distribution in Japan. I suggested and drove 16-passenger van to take crew to desert-like locations outside of Austin. The next day I drove 16-passenger van and Japanese-only speaking talent and their encourage to locations while explaining to videographer in broken Japanese about locations we saw.

Scouted for unique house, acquired signatures on location agreement, performed all duties of location manager during production.

Scouted homes and businesses and cars.

Scouting chic rural settings, accompanying producer on tech scout and assisting during production.

CBC in Canada and another broadcast company in France. This was a joint international documentary. I scouted locations, acquired city permits, hired local crew, accompanied crew throughout production in multiple cities, and communicated in French with the Director from France who spoke little English.

Scouted locations, acquired city permits, obtained signatures on location agreements. I shaved hours off production by grouping locations near one another.