Creation Grants support Vermont Artists and Filmmakers

“Creation Grants support the creation of new work by Vermont artists. Applicants to this category must demonstrate that the primary component of their proposal is the funding of time, supplies, facilities (rehearsal or studio), etc. for their work. Projects may be at various stages of completion. There must be strong potential for public presentation of the work either during or after the grant period. Wherever possible, projects should strive to stimulate greater public understanding of the art form.

Examples of fundable projects include:

• A writer who wishes to complete the first draft of a novel and will conduct a series of readings of the new work at local libraries, OR
• A dance ensemble that will choreograph a piece to be available wholly or in part for touring to area presenters.”

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.

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Interview with SizzlePitch.com President Jijo Reed

Sometimes in independent production, it seems as though getting a project green-lit is harder than actually producing it.  Often times, new producers (and even seasoned ones) need just the right connections to get networks or funders to look at their proposals.  To really impress, a sizzle reel (3-minute trailer) is needed to convince the big bosses that a project is worth their time.

The new website SizzlePitch.com serves as a conduit for all types of producers to get their projects in front of the right eyes.  The SizzlePitch staff, led by President Jijo Reed, have over forty years of combined experience developing and producing for television and film.  The website and staff help you get your ideas in front of the execs by allowing you to upload an already produced sizzle reel (that’s free).  If you need a sizzle reel that really sizzles they can produce one for you starting at $2,500 depending on the scope of your reel. And the good news is, you don’t need to have any connections or an established name in the industry for them to do it.  As the website states “Finally there’s a destination where you don’t need to have “connections” to be connected.”  Jijo and I recently discussed the mission behind SizzlePitch.com.

What gave you the idea to start SizzlePitch?

In 2002, I had the idea of creating a reality show that took place in a rehab in Malibu. I found a rehab that was willing to let me shoot and talk to the residents in this program. After shooting for days on end, I put together a “sizzle” trailer to pitch the concept. VH1 loved it and ordered a pilot based on the sizzle. It’s now the hit show Celebrity Rehab. At the beginning of this year, I took a look at a list of my credits and realized that of the hundreds of projects I have produced, I enjoyed creating sizzles the most. The prospect of giving life to a concept, whether through “borrowed” footage or specifically shot footage, is extremely rewarding and, nowadays, necessary to the pitch process. When a visual representation of an idea is introduced, as opposed to just a verbal pitch, the chances of closing a deal is increased exponentially. My background in producing trailers for finished films has definitely been helpful in creating the right “flow” in the footage.

Or what are some successes you’ve had with SizzlePitch?

Our most recent successes are USS Indianapolis and Headshot.  We created what we call “film sizzles” for both of these “yet to made” projects. With only a script to go from, we created the sizzles by using clips from various movies and other miscellaneous content, wrote trailer copy and created title graphics, then of course, cut it all to music. USS Indianapolis has both an “A’ list director and actor attached; and foreign pre-sales are in the works. The sizzle for Headshot, a horror film, was the major reason the entire budget was financed.  It is in Pre-production now and shooting starts July 7^th.

What has been the industry reaction to SizzlePitch?

The reaction has been amazing mainly because there are no real companies that specialize in sizzles at the level that we do. There are companies that offer this type of service but we are dedicated to packaging prospective film & TV projects.  Also we have an online component to showcase sizzles, so not only are we creating these pieces, but we offer a platform for producers to gain exposure and share their projects. We also offer script budgeting, profit & loss projections, website creation and digital key-art (poster art) for film & TV projects.

What is the most important thing that producers should know when creating a pitch reel?

A pitch reel should be able to “stand alone” without a verbal accompaniment. It should leave no questions as to what type of show it is or what it’s about. Also the production value of the piece should reflect the production value of the intended finished product. There’s never a benefit in under-selling or over-selling a project. Furthermore, it should be fun and interesting to watch and not be longer than 3min 30 seconds.  2 and 1/2 to 3 minutes is an ideal running time for most pitch reels.

What is most fun about working on SizzlePitch?

We love what we do here! Every project is a “passion” project because of the heart behind each project. I applaud anyone who is willing to put their dreams and goals in action. There are so many “producers” out there and even more people with “an idea” but the ones who really take action win my respect immediately. It’s so very rewarding to see a project get picked up and know that we were instrumental in that specific achievement.  Sizzlepitch’s lead editor, Karo Blikian sums it up “When a writer or producer sees their script come to life in our sizzles, we can’t help but to share in their excitement. It definitely doesn’t suck to see the reactions.”

To check out some of the reels produced by SizzlePitch visit:

http://www.sizzlepitch.com/video/145/HEADSHOT

http://www.sizzlepitch.com/video/137/USS-INDIANAPOLIS-SIZZLE

http://www.sizzlepitch.com/video/210/Chasing-Gary

For more information about SizzlePitch visit:

www.sizzlepitch.com

www.vimeo.com/jijoreed

http://www.facebook.com/SizzlePitch

SizzlePitch helps connect your project to producers

I recently stumbled upon sizzlepitch.com, a website designed to help film and video producers find home for their projects.  Be it drama, non-fiction, web or stand-up comedy, you can upload your project-in-progress and even get help on it.  The CEO, Jijo Reed, assured me that they have had success getting both development and production deals.  Here is what he says on sizzlepitch.com:

“Finally there’s a destination where  you don’t need to have “connections” to be connected. With our collective experience of over 40 years in the Entertainment Industry and our strong relationships in the business,  this is the stage where your special project will get the right kind of  exposure to help enable a green-light for your concept-

SizzlePitch.com is the first website  of it’s kind to showcase your media project to the people you “need” to see  your project.  Do you have an idea for a  reality show? Have you written a feature script or treatment?  A web series show idea? Here at SizzlePitch, we  are intensely committed to producing AND showcasing the most effective tool in the pitch  process…. the Sizzle Reel.

Furthermore, we offer pitch packages  that include website creation, key art creation (posters, brochures, lobby cards) script breakdown & budgeting, PR & Publicity services,  Social Media Marketing and SEO (search engine  optimization) services.

With our seasoned team of producers, editors, designers, and copy writers, your reality show just may  become your dream show. Our facilities, located in the prestigious and historic  Wiltern Theater Tower, are equipped with virtually everything needed to produce  and showcase your project: HD edit bays, 5.1mix rooms, full 2D and 3D  motion graphic capabilities, a green screen stage, and a surround sound  screening room.               The website, http://www.sizzlepitch.com, has 7 different categories: TV SIZZLES, FILM SIZZLES, WEB SIZZLES, CORPORATE SIZZLES, MUSIC SHOWCASE, AND  COMEDY  SHOWCASE–

The TV SIZZLE category features sizzles for TV shows seeking funding and/or network deals.

The FILM SIZZLE category features sizzles and trailers for films seeking funding and/or distribution       deals. This channel also features misc trailers solely for viewing entertainment.

The WEB SIZZLE category features sizzles for web content seeking funding and/or general awareness. This channel also features misc trailers solely for viewing entertainment.

The CORPORATE SIZZLE category features media sales presentations for various business ventures seeking investors, partnerships, and other various objectives.

The MUSIC SHOWCASE category is dedicated to showcasing signed and unsigned bands for the purpose of booking  tours and securing licensing deals and/or recording contracts. Music content, such as live performances, videos, and EPK’s (electronic press kits) are presented on our site, targeting record labels, bookers, agents,  music producers and managers.

The COMEDY SHOWCASE category showcases both established and up & coming comedians with videos of comedy  sketch and stand up routines- Bookers, agents, managers, and casting agents have the opportunity to evaluate these performances for consideration.

With Sizzlepitch, you have the  option to either upload your own previously produced Sizzle to Sizzlepitch.com,  or we will provide the production, post, and creative services for you. And  with your project’s own customizable profile page, viewers will be able to  learn more about you and the assets of your project.

We are all so excited about the 2012  launch of SizzlePitch and are relentless in our mission to help you  realize your dreams)”

 

Whole Foods Sliver Doc Grant for Documentaries

Whole Foods Silver Docs grant: “The AFI-Discovery Channel Silverdocs Documentary Festival and Whole Foods Market is currently accepting applications from filmmakers who are looking for grant money towards the development or completion of a documentary feature film project for green-themed films.” The grantees receive $25,000.

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!

Solaris Finishing Fund for Independent Filmmakers

“Solaris created a “Finishing Fund” to support fellow indie filmmakers who seek the financial and technical resources necessary to complete their films. Greg and Gavin O’Connor originally created the Completion Partners as a response to their own efforts in trying to raise the capital to complete post-production for their film Tumbleweeds. In addition to financing the completion of these films, the Completion Partners Fund will offer the expertise necessary to help navigate the post-production waters, enabling filmmakers to get the film they envision to the market in the most effective way. They will be instrumental in the films’ promotion, festival strategy, and sales strategy.”

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!

Heineken Voces Grant Supports Latin American Filmmakers

The Heineken Voces Grant “supports Latin American artists living in the U.S. and working  on feature-length narrative and documentary projects that offer new  perspectives on their cultural experiences.

• Project Status – For narratives: films at any stage of production from treatment to rough cut. For documentaries: films in the advanced stages of development, production and/or post-production.
• Region: For Latino filmmakers based in the United States
• Funding: Two $10,000 grants being awarded (for one feature narrative and one feature documentary)”

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!

DIGITAL OPEN CALL: $20K for Black Digital Projects from NBPC

From the National Black Programming Consortium
http://www.blackpublicmedia.org/for-producers

Your support and engagement with our summer of original content brought us a very fulfilling season. We hope you enjoyed Mondo Black, and Black Folk Don’t, and we hope you continue to engage with them, leave your comments, and join the conversation via Twitter and Facebook!

Both series were funded through our annual Digital Open Call; an interactive call for original web content focused on stories about the global black diaspora. Stories can be narrative, documentary, audio, video, etc, as  long as they present a unique opportunity for our audience to interact  around engaging subject matter.

And for the very first time this year we are opening up the call to include “serious games.” So come on down developers of mobile and web-based  games; an innovative new way to get audiences discussing truly important issues.

So are you a producer? Are you a  game developer? Do you want to see your own series on  BlackPublicMedia.org? Be sure to get your applications in, our deadline for the $20,000 digital grant is approaching on September, 26th!

Two projects will receive $20,000 each to make their ideas a reality, and  these projects will launch on BlackPublicMedia.org in the summer of  2012! Don’t waste any time, download the guidelines, and submit your online application.

http://www.blackpublicmedia.org/for-producers/

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!

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.

Sample Shoot Schedule Template

Here is a shoot template that I typically use. I change it to fit the needs of each shoot.  You can see a budget template in the sample documentary budget blog post.

You can purchase a downloadable template for ONLY $0.99!

This template can be changed to fit any scheduling needs.

                        

BIRTHDAY INTERVIEW SHOOT

January 21, 2011

 

SHOOT SCHEDULE
	Call time	Address	Contact info
LOCATION 1	9:00am	The Great Hall 000 Blank StreetCity, State, Zip Phone number	Joe Name, Hall Manager555-1234JoeName@greathall.com
Notes: Park at back loading dock.  Take elevator to second floor party room.Lunch will be catered at the location.

 

 

Crew/Talent Contacts
Name	Role	Phone Number	Email
	Producer
	AP
	PA
	Camera
	Audio
	Gaffer
	Make up

 

Friday, January 21:

9pm CREW CALL TIME: everyone arrive at the front door for load in.

9-10am Load in

10am-11:30am Set up for interview #1

11:30pm Make-up arrives and sets up

12-1pm Lunch

12:30 Guest #1 arrives and goes into make up

1pm Tape Guest # 1

2 pm Guest #2 arrives and goes into make up

2pm Re-set for Guest #2

2:30-3:30pm Interview Guest #2

3:30-5pm Tape b-roll

• Building exteriors
• People talking at party
• Cake (presentation, blowing candles, cutting, eating)
• Presents (presents stacked up, opening presents, reactions)
• Closing shot (like a hug as people are leaving)

5pm WRAP SHOOT, pack up and leave

You can purchase a downloadable template for ONLY $0.99!

This template can be changed to fit any scheduling needs.

                        

Should I Buy A Hard Drive?

I asked my friends and colleagues at the Washington, DC area Women in Film and Video (WIFV) if it was time for me, as an independent and freelance producer, to buy my own hard drive.  The resounding answer was “yes.”

Some people, like Stephanie Foerster Owner of StepFilms, says the question takes some consideration.  “If you are responsible for the footage upon conclusion of the shoot, then yes, a hard drive is a great investment. That said, if you are simply handing over the footage for post, I think it’s fair to request the client to provide their own drive before the shoot.”

There are a lot of hard drives out there and not all of them will work for every situation.  For instance, are you looking for a hard drive to simply store and transport footage?  If so, a small drive will work.  The most popular compact drive suggestion I got was for the 350gb LaCie.  I’m using this drive now (in fact it is packed up ready for my shoot today) and it seems both rugged and easy to use.  It doesn’t need a power cord because it runs off of the firewire cable. It costs about $100.  For Mac users, My Passport Studio has been recommended because it is small and very affordable.  Another recommendation is the $90 Smartdisk FireLite which holds about 80GB and fits in the palm of your hand.

But as Roland Hudson of Flipbook Productions points out, you will need something bigger and faster if you plan to edit from the drive.  Anything less than 1TB can make moving media on and off of the drive painstakingly slow.  The G-Raid mini, another highly recommended drive based on responses, runs about $300.

Bonnie Green, a Digital Assets Manager, warns not to store too much on one drive.  “I usually advocate digitizing your assets into a searchable database, then archiving physical assets in off-site storage. Never keep the two in the same location. Use the “what if” scenario in laying out your plan.  Also, using one hard drive for multiple clients may not be wise, as it only takes one corrupted file to ruin to the soup. Then, you’ve just screwed up your other clients’ stuff and made yourself look like a novice.”

The crowd was split on how “consumer” to go with these drives. Some felt that standard drives found at Best Buy to provide storage for a home computer wouldn’t suffice.  Others were excited about cheap and cheerful drives that could be bought for under 100-bucks.  Personally, I feel that is it worth a little extra to safeguard a client’s footage.

And last but not least, back up your footage!  Some producers use their drives as backups. Others store the footage on their computer.  It doesn’t really matter where you keep it just as long as you can get to that backed-up footage if needed.