Category Archives: Training and Networking

The new 10 commandments of low budget filmmaking

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Elliot Grove and the Raindance Film Festival have issued ten new commandments of low (no) budget filmmaking.

They are:

  1. Thou shalt have a fantastic screenplay.
  2. Thou shalt understand keywords and SEO tools.
  3. Thou shalt secure some development finance.
  4. Thou shalt spend proper time in pre-production.
  5. Thou shalt understand the shoot and exploit it to maximum advantage.
  6. Thou shalt not fix it in Post-Production.
  7. Thou shalt clear all music in your film.
  8. Thou shalt prepare professional publicity and marketing materials.
  9. Thou shalt use film festivals to launch your film.
  10. Thou shalt create a distribution strategy.

See the annotated version.

My take: I can get behind all of these except number nine. Seems to me that’s really part of number 10. Not having much, if any success, at film festivals, I’m not convinced. I guess what I really need is a paid-for-performance film festival agent. Any suggestions?

Maureen Bradley blogs about micro-budget feature production

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CineVic recently invited Maureen Bradley to speak about her micro-budget feature project, Two 4 One.

She’s cobbling the $250,000 budget together from a number of sources: the Telefilm Micro-Budget Program, the BC Arts Council, the Jim Murphy Filmmkakers Bursary, an IndieGoGo campaign and private sources, for a February 2014 shoot.

She’s blogging about the experience at microbudget.org where she gives a more detailed answer to one of my questions on Saturday.

Regarding this year’s Telefilm Micro-Budget Feature competiton, Maureen’s advice was: have a great story and really think through an innovative digital platform strategy.

My take: Thank you, Maureen, for sharing your knowledge and experience and — your insights! It occurs to me that Telefilm is in the business of making million-dollar movies, so they’re really taking a flyer with eight to ten projects for one million, and hoping that one breaks out. In the old model, a film’s profile was amassed through festival exposure, critical reviews and box office, to be augmented by media coverage as it worked its way through the standard windows. Today, a project’s profile starts with the first online exposure, carries on through the pre-production, crowd-funding, production and post-production stages and hopefully snowballs when more people can actually pay for it. The old model was mediated by distributors, whereas with the new model, the producer does it all. I foresee more creative cooperatives coming together: teams of producers, each specialized in different parts of the new paradigm — concept, marketing, social media, production, exploitation.

Emerging Producers: Apply for Rotterdam Lab 2014

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Telefilm is inviting emerging feature film producers to apply to CineMart‘s Rotterdam Lab 2014.

“The aim of the Rotterdam Lab, a 5-day training workshop, is to give starting producers the opportunity to develop international market experience and knowledge through privileged access to CineMart participants (sales agents, producers, distributors, television buyers, private investors and national funds).”

Telefilm will choose three producers. The trio will receive accreditation to CineMart and the 43rd International Film Festival Rotterdam and five nights accommodation but must arrange their own travel and food.

The deadline is October 25, 2013. Apply through Telefilm.

My take: if you have a feature in development that could be an international co-production, you should check this out.

Enter Pitch 360 at Merging Media 2013

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You have until 5 p.m. on Monday, September 30, to enter Pitch 360 at this year’s Merging Media fourth annual conference in Vancouver.

Twelve contestants will then compete on Thursday, November 7, at the Creative BC Pitch Parlour by pitching their concepts for cross-media or transmedia projects in development. They are looking for:

“…a cross‐media property that ‘crosses­-over’ into at least one other medium e.g. a multi-platform story that extends onto more than one platform, a television series with mobile App, a webseries with a mobile game element, an e-book with an Alternate Reality Game etc.”

Up for grabs is $10,000. If you live on the right side of the tracks, you might also qualify for an additional $5,000 from Telus.

Note: you need to be based in Western Canada and there is a $75 fee if you’re chosen to pitch.

My take: of course, if you’re developing a cross-media or transmedia project, you must enter!

 

CineCoup goes public and why you should care

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CineCoup just went live and you should care.

I blogged about CineCoup.com last November and last week it opened to the public with 90 projects, each vying for $1,000,000 and guaranteed screenings at Cineplex.

CineCoup is applying the tech accelerator model to film-making in Canada. Over the next three months, they’ll be challenging the teams to complete a number of ‘missions’ which the public will then rate.

That’s right — you’ll decide the fate of the filmmakers.

This is a fresh model for film financing in Canada. Other than direct crowd-funding, I don’t know of anything else here that shifts the power from industry insiders to the general public. After all, why not ask the audience directly what it wants to see, rather than leaving that decision to committee after committee?

My take: Sign up! Visit CineCoup often. Watch and rate the trailers. Add projects to your watch lists. Follow along for the next few months. Get involved.

Disclosure: I’m providing some production management services to Transmission by Tyler Moore and Clay Bartel.

NYC Indies Adopt Tech Accelerator Model

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Hot on the heels of CineCoup in Vancouver, Dogfish Pictures in New York has announced the Dogfish Accelerator.

Both groups plan to use the successful tech business accelerator model to attract, mentor and launch indie film teams (and their projects). Whereas CineCoup will do this publicly using social media, the Dogfish Accelerator will stick to the tech model more closely.

Scheduled for this summer in Brooklyn, the Dogfish Accelerator will seed each company with $18,000, give them office space and mentor them for three months. They say:

“We will choose great producers who are proposing innovative opportunities and business ideas that support a highly creative and artistic idea. It’s about the team.”

C’mon, what’s the catch?

“For once, there is no catch. We want a healthier industry for indie film and this is our way to do it. Dogfish Accelerator and its mentors, service providers, and partners are all people who enjoy helping indie film. We recognize how important support is for one another and are willing to give our time and effort to you.”

My take: if you’re developing a film project and you’ve got a place to crash in New York for three months this summer, you should go for this!

CFC Features Deadline: November 23, 2012

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The fall deadline for the Canadian Film Centre’s CFC Features program is fast approaching.

Up to $600,000.00 is up for grabs.

The tiers are the Development & Packaging Lab, the Production Lab (The Movie Network and Movie Central) and the Distribution Lab (eOne).

Courtesy of the CFC:

CFC Features is looking to invest in filmmakers from across Canada with engaging stories for the big screen.

Some new program highlights include:

  • A partnership with Entertainment One, who will now be the  domestic and international distributor
  • Production entities retain copyright of their films
  • Production entities can shoot anywhere in Canada
  • Production budget levels have increased
  • Filmmakers at various levels of their careers are encouraged to apply
  • Writer/director/producer fees have increased
  • Production entities can bring additional financing to the table
  • Mentorship will be tailored to the sensibilities and individual needs of the participants

My take: if you’ve got a second draft script and a solid production team ready, go for it.

The entry fee is $100.

NSI Drama Prize Deadline: November 27, 2012

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Tuesday, November 27, 2012, is the next deadline for the NSI’s Drama Prize.

“NSI Drama Prize is an ambitious training course for producer/writer/director teams looking to make their first or second dramatic short. It provides emerging filmmakers with a year of professional support and training in the various stages of filmmaking while they develop and produce a short film (maximum of 10 minutes in length). Up to four teams of aspiring Canadian filmmakers will be selected.”

If successful, you will:

  • “work with an experienced story editor to polish your script;
  • receive customized training delivered by industry experts in writing, directing and producing;
  • receive up to $10,000 in cash to go toward making your film;
  • receive approximately $20,000 in services to go toward making your film which includes equipment, film stock, post-production facilities, closed captioning, insurance, legal counsel;
  • receive air travel and accommodation costs to attend the week-long bootcamp in Winnipeg;
  • explore the world of social media marketing, transmedia and multi-platform strategies and find out how they can extend your personal brand, generate buzz for your film, help you fundraise and expand your audience; and
  • receive access to an established industry professional who will act as your mentor, offering advice, expertise and support.”

The entry fee is $100. If your project is selected, each team member then needs to cough up $1,500 for tuition.

So is it worth it?

Probably.

Your $100 gets you thinking seriously about your project.

Your $3,000 – $4,500 tuition gets you $10K in cash, $20K in services, lots of training and networking.

My advice? If you have a project you’re passionate about, apply with a two person team. (Keep in mind the Producer and Director cannot be the same person.)

Hey, it’s only $50 a head and you’ll whip your project into shape.

And if you’re not selected, just shoot it anyway with the money you would’ve spent on tuition!

 

NSI Aboriginal Documentary Deadline: November 2, 2012

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Are you a Manitoban who is a North American Indian or a member of a First Nation, Métis or Inuit producer or director?

Would you like $16,000 to make a 10 minute documentary?

If so, you should apply to the NSI’s  Aboriginal Documentary pilot program. You’ll need a partner and to fill out a lengthy application.

There is a $100 submission fee.