Posts Tagged ‘distribution’

Sarah Jacobson Film Grant for Women Filmmakers

“The Sarah Jacobson Film Grant supports women “whose work embodies some of the things that Sarah stood for: a fierce DIY approach to filmmaking, a radical social critique, and a thoroughly underground sensibility.” This year we plan to give out grants of $2,000 each to support film projects in any stage of completion, from pre-production through distribution.

We are open to films of any length and genre, from documentary to experimental to narrative. We’re looking for projects that in some way embody Sarah’s spirit and represent the values that she articulated in her work—powerful representations of women, a do-it-yourself approach to filmmaking and life, and a passionate commitment to advancing equality without sacrificing fun. Check out some of our past winners’ projects by scrolling through the blog a bit.”

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

Don’t forget to subscribe to this blog for up-to-the-minute updates!  Or follow us on Twitter!

Texas Filmmakers’ Production Fund Offers Grants for Filmmakers in Texas is now the Austin Film Society Grant

“Once a year, AFS awards grants to emerging film and video artists in the state of Texas through our Texas Filmmakers’ Production Fund (TFPF). Since 1996 the Austin Film Society has awarded $1.25 million in cash and  $88K in goods and services to 354 projects. In addition to grants for production, post-production and distribution, we provide cash stipends to Texas filmmakers traveling to prestigious film festivals through its Texas Filmmakers’ Travel Grant program.”

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

Don’t forget to subscribe to this blog for up-to-the-minute updates!  Or follow us on Twitter!

IFP Labs: Seeking first features in post

IFP’s Independent Filmmaker Labs are a year-long  fellowship supporting independent filmmakers when they need it most: through the completion, marketing,  and distribution of their first features. Lab submission is  open to all first-time documentary and narrative feature directors with films  in post-production. Structured in three week-long components held over the  year, the Labs offer personalized attention on post-production, audience  building, and distribution strategies in the digital age, followed by continued  support from IFP as the project premieres in the marketplace.”

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

Don’t forget to subscribe to this blog for up-to-the-minute updates!  Or follow us on Twitter!

One Of A Kind Programming on TheLip.TV

TheLip.TV GIVES ONLINE VIEWERS

ONE OF A KIND ORIGINAL PROGRAMMING

Website Launches Four In-depth Shows

BEVERLY HILLS, CA – While most online web shows have short bursts of info in five and ten minute segments, TheLip.TV has reinvented the ultimate in original programming by creating first rate shows that are only available online.

TheLip.TV believes whole-heartedly that if you build it they will come. The site offers in-depth interview shows with guests who have never done these kinds of interviews ever before anywhere. These shows now have an edge over the online and television programming competition.

Founder, Michael Lustig launched TheLip.TV this past August 2011 and from the start he has basically reinvented what many of stayed away from which is high quality online interview shows. His philosophy is to create top-notch original programming that makes the audience really want to sit up and take notice. “I asked myself the best question to create this new online genre which is why would the audience care?”

TheLip.TV’s first four online shows offer a great selection beginning with: “BYOD” (Bring Your Own Doc) co-hosted by Ondi Timoner, director of “DIG!” “JOIN US” and “WE LIVE IN PUBLIC,” and she’s the only filmmaker to win Grand Jury Prize at Sundance twice, and her co-host Vladimir Radovanov, is an entertainment attorney, and executive producer of “WE LIVE IN PUBLIC.” The show explores documentary filmmakers, aspects of filmmaking, with special guests and a live Q&A– diving deep into creative process and the business realities of producing and distributing films.  Ondi and Vladimir share their insider views, opinions, and personal stories, welcoming audience participation.  BYOD aims to entertain, inform, and elevate documentaries in general by bringing attention to films and filmmakers that deserveexposure.

Then there’s “Media Mayhem” hosted by Allison Hope Weiner. She’s a lawyer and journalist who has covered Hollywood for more than fifteen years. It features behind the scenes of just why certain stories are published, why others are never told and how the conflict between the advertising and editorial sections of a company often determines content. 

“The Wine Down” features all things fermented, distilled, grown, nourished and served with hosts, Sonja Magdevski and Brandon Bartlett. Bartlett is a registered Sommelier with The Court of Master Sommeliers, makes his own wine, and sat on Bon Appetit Magazine’s Tasting Panel. While Magdevski’s winemaking endeavors can be found at: casadumetzwines.com

Finally there’s “The Intentional Parent” explores parenting through dialogue and debate making it an innovative and groundbreaking program. It’s co-hosted by Greg Matuskiewicz and parenting expert and author, Dr. Tina Payne Bryson. It’s a straightforward parenting show that everyone can relate to.

TheLip.TV is rolling out other new series in 2012 and is partnered with Justintv.com, YouTube.com, iTunes and UStream.

8 Tips To Fund Your Documentary

Thanks to Melissa Houghton, Director at Women in Film and Video  in Washington, DC  who shared this link with association members about thinds to keep in mind when raising money to produce a documentary. It is a good primer for new documentarians and a good reminder for established filmmakers.  It’s from indieWIRE.

IFP Independent Film Week: 8 Quick Tips on How to Fund Your Documentary

 by Sophia Savage (September 21, 2011)
IFP’s Independent Film Week is underway with a host of master classes, panels and conversations about financing, production, distribution and more. Among the several offerings Wednesday afternoon, IFP presented “Master Class: How to Fund Your Documentary” at the new Elinor Bunin Munroe Film Center in New York.

IFP’s description of the class states: “Learn how to navigate the vast array of funding options for non-fiction, and avoid the pitfalls, in this intimate masterclass…” iW is presenting highlights below from the discussion…

Three key elements to taking your documentary project all the way: Viability, Originality and Exclusivity. Here’s eight common sense points Masterclass leader Louise Rosen shared to help non-fiction filmmakers take that project from concept to reality. (All items in brackets were taken from a Power Point presentation given during the conversation).

Know Your Subject

If your film isn’t personal, you need to do your research to know what’s already been done on your subject, and not just in the U.S. Check international databases to inform yourself so you can know how to position your own project as being unique. If you have exclusive access to someone or something, lock it down. Protect yourself from losing this edge. (Realscreen.com, Reelisor.com, Telcoreport.com, Broadcastnow.com, Worldscreennews.com, Documentary.org, D-word.com, Beyond the Box, IFP, blogs!)

Do Your Homework

Keep your ear to the ground, serve your professional development: Go to workshops, festivals, conferences, training opportunities; read papers, blogs, news, commentary; stay collegial, share and compare with your colleagues and competition; do not isolate yourself.

Seek out opportunities where your idea can be discussed in a professional context.  Test your concept and gain more confidence in how you pitch it.

Know Your Audience

Know your target audience. Who is going to buy and watch? TV, community use, education purposes, non-profits? Be adaptable to how your material can be used, from feature format to series to 1-hour format.

Value Your Time and Budget Accordingly

There are different budgets for different funding scenarios – and have different versions. Keep in mind that if you don’t value your time, investors won’t either. Document the cash value of your time and your team’s time – it’s part of the project’s real cash need. Remember that there is a gap in how the US and European markets think about budget. Be able to defend every line item.

Remember: Funding is a Marathon, Not a Sprint

Don’t expect all your funding to come from one place, because it won’t; it’s incremental. Look local first, at historical or arts societies. Don’t discount small amounts. Consider crowdfunding (Kickstarer, IndieGoGo). If you find a private investor, it’s best to go through a fiscal sponsor to buffer yourself. Be prepared to engage legal and accounting services of your own. Very few large sums are available, and they tend to be for completion funding. It’s very important what material you have to show.

Know How to Pitch Your Project

You need to be able to sell your project with two paragraphs, two pages, or the complete rundown. Tailor your pitch for the specific audience; know the mission statement of the entity you are asking money from. Write the pitch/proposal for a decision maker; keep room for their point of view or expertise.

Pitch events can be crazy; attend some as an observer to get a feel for it. Be true to yourself and your style – not everyone is a showman. In your pitch, consider tone, style, how much to disclose, type of footage, etc. Think visually.

Maximize Your Marquee Value

If you are starting out and don’t have a track record, try to add credibility through your team. Endorsements from anyone respected does a world of good. Bring in consultants, co-producers, etc. A strong editor and DP say a lot.

Get the Word Out

Get a website, and the sooner the better. The method of blogging as you go is debatable, but updates in some form are wise to keep your network in the loop. Consider the best way to share information; trailer, teaser, taster, sampler, selects? Don’t discount people who say “No”…build relationships, keep in touch. It’s a small world.

Exposure: It’s not over until the film is out there! Britfilms.com is a great festival database; don’t just use Withoutabox. If you pay for PR, make sure you are going to get a return.

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

Don’t forget to subscribe to this blog for up-to-the-minute updates!  Or follow us on Twitter!

Sportskool is accepting completed sports documentaries

SPORTSKOOL  is accepting completed feature-length documentaries about sports and sports related topics to air nationwide on cable on-demand channels. Documentaries should have all rights cleared by the owner and be available on a broadcast quality format such as digi-beta.

Previous sports documentaries seen on SPORTSKOOL include:

Yogi Berra – Get to know baseball legend Yogi Berra then and now.  Yogi is joined by his biggest fans – from celebrities to family members – to shed some light on his enduring legacy.

Morgan Lacrosse Doc – A look into the formation of the 1970s Morgan State University lacrosse team, the first and only varsity program at a historically black institution.  Told by the athletes and coaches who changed the face of this traditionally white sport.

Chasing the Dream – Hit the waves before class with the pro surfing hopefuls at Huntington Beach High.  On this team, if you want to hand ten, then drop and give me twenty!

Submissions should be sent to:

            SPORTSKOOL
            100 Cathedral Street, Suite 9
            Annapolis, MD 21204

Include a DVD screener and 1-sheet synopsis.

Email questions to info@gracecreek.com

 

SPORTSKOOL is the only on-demand television network where the biggest names in sports deliver the secrets to better performance, winnings scores and bigger tricks. Join Shaun White, Doug Flutie, Mia Hamm, Bode Miller, Misty May, Tony Gwynn, Bill Walton, Mike Vallely (Mike V.) and other star athletes for one-on-one training and instruction…when and where you want it.

SPORTSKOOL is currently available to more than 34 million digital television subscribers. Television providers carrying SPORTSKOOL include Comcast, Time Warner Cable, Cablevision, Mediacom, Insight, Verizon FiOS, Mid-Hudson, Shrewsbury and Suddenlink.

Visit SPORTSKOOL online at sportskool.com

Fundraising Through CrowdSourcing & CrowdFunding

Crowdsourcing (also known as crowdfunding) is a relatively new term made popular by new media sites that draw on the collective and voluntary knowledge, expertise or support of their visitors or users.  If you look up the term “crowdsourcing” via Google’s define function, only 4 definitions appear (“crowdfuning” only has one).  Yet, crowdsourcing is increasingly gaining in popularity as a way to raise funds for documentary and series productions. 

I have not used crowdsoursing myself but have been invited to donate through crowdsourcing sites such as Kickstarter.com , IndieGoGo.com and RocketHub.com.  These sites allow producers to present their ideas and projects then set a monetary fundraising goal (such as $5,000 in completion funds for a documentary) and a time frame.  If the target goal is not reached on some sites, the project does not receive the funds.  Other sites give the project owner whatever funds are collected.  Most sites charge a fee. 

Visitors to the project fundraising site are able to donate however much they like and are often offered thank you gifts for certain donated amounts.  For example, one project I saw offered the documentary soundtrack to anyone who donated at the $100 level.

I recently that the chance to ask some of my colleagues in the independent production business about their experiences raising money on crowdsourcing sites. 

  • Anne Mathide Cobern exceeded her $5000 kickstarter goal for her thesis film “Pretty All the Time.” Her film was winner of DC Shorts 2009 Script DC and a semi-finalist for the Carole Fielding award through the University Film and Video Association.
  • Mary Ratcliff is a writer and director who used crowdsourced for her film “Catching Up.”  You can find out more about Mary on her website.
  • Ishu Krishna’s company is Citra Productions.  She is currently crowdsourcing her film “Arrange to Settle.”  Check out her kickstarter page here
  • Emmett Williams is an independent producer is using crowdsourcing to raise funds for a short documentary about people living with Multiple Sclerosis called “If You Can Dream.” Check out his IndieGoGo site here for more about the his documentary.  Or visit his website.

 

Why did you choose to raise funds through a crowdsourcing site rather than ask family and friends?

Anne Mathilde Coburn: For me, it’s a mix. In many ways, I probably could have gotten cash straight up from family, which has accounted for a good bit of the total, but I like the artificial deadline of Kickstarter–it creates deadline pressure on the part of the donor and the person with the project, which (at least with me, my family and friends) is a real concern in an open-ended fundraising scenario. I would suggest making arrangements with large potential donors to hang back until the last minute in case you have difficulties reaching the end goal. Also, craft a personal letter to everyone you know that hopefully creates an emotional tie between you and your potential donors. The good thing about social media/Kickstarter/crowdsourcing et al, is that if your contacts are in wildly different cities (for me, they’re in New York, DC, and Cleveland), people like to come to a place where they can follow the progress of the film. A blog with a link to the Kickstarter page; the Kickstarter page itself; Twitter updates– all of these things take time, but create a deeper connection between you and your donors/friends.

I’m actually using Kickstarter right now for my thesis film, which is a short narrative piece. I’m trying to raise $5,000. We’re currently at $4,265 with 21 days to go. I should also mention, though, that I have been saving for my thesis film (for 8 months), and have gotten a couple of grants from my university in order to make this film as well.

How involved is the process?

Mary Ratliff: I raised $500 through Kickstarter and I fully believe I would have raised over $400 of that through direct donations without the campaign. If you want to get substantial results through Kickstarter you need to make fundraising almost a full time job with promotions and getting your link out there. Getting your project featured (on their site) is one of the best ways to actually get funding from strangers, which requires a lot links back and forth from your page to and from other websites, people tweeting, etc.  You have to work really hard to build your own press because they don’t do any of that for you unless you are already really popular and successful.  Also, I’ve been told repeatedly that projects with videos have much, much higher success rates.

Are there any fees involved?

Mary Ratliff: You have to account for the fees that you have to pay to both the crowdsourcing website and their payment processing system (IndieGoGo and Paypal, Kickstarter and Amazon).  Depending on the size of the donation, they can run over 10%, but that’s the average.

What are some benefits to fundraising through crowdsourcing sites?

Ishu Krishna: I put up a paypal link for my previous project, and asked people to donate.  I got some donations but not a lot.  With Kickstarter, it gives me a kick in the butt to be more aggressive with fundraising, and it puts the urgency behind it. I have also had two people contact me through kickstarter to invest large amounts, and not just donate through kickstarter.  I am currently in talks with them, and not sure if it will pan out.  But it’s two people I am talking to that I didn’t know before.

What types of thank you gifts are you offering?

Emmett Williams:

  • For $1: You will be added to the IF YOU CAN DREAM email list to receive updates on the progress of the film throughout production.
  • For $25: The above plus a DVD of the broadcast television version of the documentary and a Thank You in the film credits.
  • For $100: The above plus the official “IF YOU CAN DREAM” t-shirt.
  • For $250: The above plus the extended Directors Cut of the documentary available to film festivals.
  • For $500: The above plus a Producers credit in the film.
  • For $1000: The above plus you will play a role in the development of the film through special online screenings where your opinion of the Work In Progress will be sought.

 

For more information about crowdsource financing check out this blog post  from FilmContact.com.  It talks about some interesting crowdsourcing distribution concepts.

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

Documenary & Series Proposal Check List

PROPOSAL/TREATMENT CHECK LIST

This is the basic format I use for writing a documentary or series proposal. I change it, add to it and rearrange it as needed. Please note that most places where you will submit your proposal, especially for grant funding (check out the Grants and Funding category), will ask for specific information.

  • Title – think long and hard about your title. It should be short, sweet and to the point.
  • Project description – what makes this idea special?
  • Overview of story – step by step, how will the documentary or series unfold?  Include sample segments and/or episodes.
  • Story-telling style – how will you convey the story (interviews, still photos, graphics and charts, music). Help the reader SEE your idea.
  • Need or importance of project – why should this story or series be made?
  • Target Audience – who are they and why will they watch?
  • Project timeline – a brief calendar outlining the workflow from development to delivery.
  • Distribution plan (including Website and New Media) – how and where will viewers be able to see your documentary or series?
  • Budget with fundraising plan including any funds already raised (read the Sample Budget blog to see how a budget is laid out).
  • Personnel bios or resumes
    • Key production staff involved
    • Key interviewees
    • Consultants

Note: Any pictures that can be inserted into the proposal or video that can be sent with the proposal always helps.

  • Trailer or funding reel if you have it.  It should be polished.

ITVS Digital Distribution Survey

For the past three years, ITVS has asked independent producers about how they find and engage audiences.  “Television is still king” the Digital Survey 2009 says.  But other mediums are quickly catching up.  I just completed the 2010 questionnaire.  Look for the results soon.

Secrets to Funding Your Dream Documentary

Here is an except from my interview with Bill Einreinhofer from the CD recording of the  teleseminar “How To Fund Your Dream Documentary.”  Bill is a National Emmy-Award winning producer, writer and director with over 20 years of television production experience.  He shared a lot of useful tips about how to raise money to produce a documentary.  Here he discusses how to approach potential funders.

SYDNYE: Before you introduce yourself and how fabulous you are and how fabulous your idea is, you need to know why and where and how much they give?

BILL: Yes. This is where you start looking at the giving history. This is where these various reference libraries, whether you go to the actual library or whether you view it online line, find out where the money has gone in the past. What are their interests if they are a foundation? Of if they are a corporation, who they are trying to reach? Corporations, I’ve gotten corporation grants to do public television programs, and it’s because those particular corporations wanted to reach the audience that public television gets. You have to figure out what the grant maker wants. And then be able to tell them, “I can deliver what you want to you.” It only makes sense. I mean obviously, it these people are going to be making grants or if they are going to be making advertising buys, they have certain needs. You have to understand what those needs and be able to tell them “this is how I can help you meet those needs.”

SYDNYE : So we’ll talk a little bit more a little bit later about distribution because that is part of it.

BILL: And this is probably the biggest mistake that many people make. In that they’ll put together a wonderful proposal. They’ve got a great theme. They’ve got colorful characters. A really, really good story, they’ve figured out exactly how to shoot it and edit it. They know what the look is and they don’t put anything about how they are going to distribute it. And if no one is ever going to see this program, this film, then why fund it?

You can learn more tips from Bill Einreinhofer about funding documentaries on the 45-minute audio CD “How To Fund Your Dream Documentary.”

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