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.”

Instant Mileage Tracker

Instant Mileage Tracker By Maxxsys.net

Production professions are always on the go – to shoots, to scouts, to meetings, to edits… Did you know that you can get tax credit for all those miles you put on your personal vehicle? This goes for freelancers and staffers who don’t get mileage reimbursement. Of course, reimbursement is another way to recoup the cost of gas or wear and tear to your car. However, it’s often hard to remember to hit the mileage button when you are busy trying to get the job done.

Whether for taxes or for mileage reimbursement, visit http://www.maxxsys.net for a fast and friendly way to automatically compute your mileage. All you do is put in the address and it does the rest.

What it does…

1. Calculates your actual miles driven based on the GPS coordinates of the addresses entered.

2. Calculates your tax deduction, using miles driven, and the IRS reimbursement rate based on trip-type and year.

3. Create a trips database for the year.

Benefits…

1. IRS audit-ready trip documentation, just in case.

2. Minimal typing, recall previously entered addresses.

3. Tracks two separate vehicles on one account.

4. Re-create logs for prior years. Maxxtraxx includes IRS Rate Tables for 2006, 2007, and 2008. 5. You will actually track your miles.

Check out www.maxxsys.com and tell them I sent you!

Navigating the HD Revolution

High Definition has arrived in full force.  Most major American networks and distributors (and many in countries around the world) require that projects be shot and delivered in HD.  Many production companies, crews and editors are racing to figure out what is the best way to make the change over to HD.  Amateur documentarians are facing the realities of up converting or adjusting their budgets.

It is a bold and exciting new world out there… but also confusing.  As an established television producer, I often have a hard time sorting through the maze of HD options.  Here are a couple of things to keep in mind when deciding what type of HD format to shoot on.

1. What type of editing intake system will you be using?  There are many types of HD record options (HDCam, HDV-HD, XDcam, etc.) and there are decks to go with each.  It is important to know how your edit system will acquire the footage.  You don’t want to show up to your edit session with tapes that don’t match the tape deck in use. This is a waste of time and money.  If you don’t know where you will edit or what type of system you are using, you can consider using a camera that records onto a disk.  Later, you can then transfer the footage onto a hard drive or straight into the appropriate editing program.  Or, you can choose one type of tape format and rent the appropriate type of deck when the time comes to digitize.  This will cost a little more but it happens a lot.
2. Super important – what type of footage does your network, client or distributor accept?  Some networks won’t accept some formats or minimal footage must come from it.  For example, they may allow a given HD project to have up to 15% standard definition footage.
3. Will you be required to deliver all of the raw footage and if so, in what format?  With many cable projects, producers are must hand over the raw footage… often in duplicate.  If the client wants that footage in a certain format like HDCam, it makes sense to go ahead and shoot with that format.  If you don’t have to turn over your raw footage, consider how you will archive the footage once your project is complete.
4. What are resolution and frame rate requirements.  Most of the projects that I work on are shot at  1080i or 720p.  Will your final project been show full screen?  Do you have to down convert to standard definition and if so, will it be center cut, anamorphic or letter boxed?  You’ll want to make sure that the camera being used has the proper settings available and that the tapes and edit system can accommodate your needs.
5. Will you buy or rent a camera?  This is a big question because a lot of money will be spent either way.  It will be helpful to have an idea of what types of HD needs you may have in the future.  If you rent a camera, or hire a cameraman with his own gear, ask to see a footage test to get clear understanding of what your footage will look like.

You’ll notice that I have not listed specific types of cameras or tapes.  I don’t want to make detailed suggestions when every situation is so different and there are so many options.  It is important to talk to as many people as possible about your project until you feel comfortable making choice.  Talk to shooters, editors and distributers/networks/clients.  Sometimes there may be more than one solution to your HD needs.  But armed with the right information, you can make the best decision for your project.  Good luck and let me know if you have any other helpful hints.