Does crowdfunding belong in your producing arsenal?
For sure.
Can you raise your whole budget?
Probably not. But maybe.
The Canada Media Fund has an excellent mini-site dedicated to crowdfunding in a Canadian context. From statistics and figures to best practices and an extensive directory, they’ve done the research for you.
My take: you owe it to yourself to spend some time here before you jump into your first crowdfunding venture.
Microsoft is getting into Reality TV. Sort of.
The huge computer company has greenlit its first unscripted series for its Xbox platform, called Every Street Reunited, from Mandalay Sports Media, the US indie set up by Rain Man producer and La Dodgers owner Peter Guber, Smallville co-creator Mike Tollin and talent agency CAA.
“The show will focus on street soccer, with each half-hour episode shot in a different country — the U.S., Spain, Holland, France, Argentina, Brazil, Ghana, South Korea — featuring local, undiscovered soccer players across the globe.”
It is expected that the series will feature some type of global interactive component.
My take: the line between the TV and the console continues to blur as the boundary between passive content and live experience continues to shift.
Blue Ant Media, owners of Bite TV, and Mondo Media have teamed with YouTube to announce Bite on Mondo – an animated comedy shorts pitch for content targeted at teens and young adults.
“Combining Mondo’s sizable audience on YouTube as well as Blue Ant Media’s television and digital reach in Canada, the program is designed to discover breakout animated content using a unique pipeline to source, finance, test, and grow properties that will resonate both on and off YouTube.”
Bite on Mondo has created a rich pitch site with 11 Scribd slides spelling out exactly what they’re looking for.
The deadline is January 15, 2014.
My take: if you have a concept for some edgy, adult-oriented animation, you should check this out!
Cinemas in Sweden have begun rating films on the Bechdel Test.
Those that pass get the ‘A rate’ stamp of approval.
The Bechdel Test was created in 1985 by Alison Bechdel. There are three, simple, rules:
Not surprisingly, given the action-figure-orientation of Hollywood today, the majority of films fail.
My take: Thank you, Sweden, for, once again, leading the way and shining a light on the underrepresentation of women in film.
Kellie Ann Benz of the National Screen Institute has updated their list of funding sources for short films in Canada.
“In our third year of updating this funding list, we note an extraordinary amount of Canadian films getting made and programmed into festivals around the world. This is thrilling.”
She lists national and provincial sources of money, marketing, training and cash prizes for shorts and their makers.
See the list here.
My take: join your local media co-op, learn everything you can and make your first short for coffee money, because you can. Then graduate to these programs so you can step up your game and actually pay your collaborators.
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.
The Washington Post reports that Disney is working on a touchscreen that lets you feel textures.
“The technology is called ‘tactile rendering of 3D features,’ and an early version of a rendering algorithm has already been developed by engineers at Disney Research in Pittsburgh. The process behind it is, predictably, both technical and confusing, but the basic premise is that small, electronic pulses can trick your fingers into perceiving bumps and texture, even if the surface is actually flat.”
The right amount of voltage makes you feel ridges, edges, protrusions or bumps!
Check out the video.
My take: This reminds me of the feelies in Aldous Huxley’s Brave New World. Science fact catches up to science fiction!
The big news around Victoria, BC, is that CineVic is now a recommending partner for Telefilm Canada’s 2013 Micro-Budget Production Program.
The co-op joins 27 others across Canada that will write one letter of recommendation for a local micro-budget first feature that will then compete for a share of $1,000,000.
“This program targets emerging Canadian talent, supporting them in the production and promotion of their first feature-length film, with an emphasis on the use of digital platforms for marketing, distribution and audience engagement. Telefilm will support between eight to ten projects through the main component, and up to three projects in the Aboriginal component. Support will be through a non-repayable financial contribution of up to $120,000 per project.”
Projects may be narrative, documentary or animation, with budgets of up to $250K.
Producers must not have previously produced and/or directed a feature film.
Producers of recommended projects must apply to Telefilm between January 6 and February 3, 2014. The films must be finished within a year.
Recommending partners will determine their own selection criteria and deadlines.
New this year: Telefilm is not requiring a script, only asking for a synopsis. (But of course, you better have a script or how else can you thoroughly break it down to make an accurate budget?)
My take: this is your golden opportunity! You’ve got a project and a team ready to go, so contact your local film school or co-op today!
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.
Bell Media has created bravoFACTUAL, becoming a major source of funding for short documentaries in Canada.
The semi-annual competition promises up to $50,000 for 15-minute “micro-docs,” which must be completed within six months.
“Budgets must reflect the story’s complexity, specific production elements, any special production techniques, required archival footage and/or, music rights, E&O insurance and any other requirements which result from the creative materials.”
New filmmakers, take note:
“…preference will be given to emerging filmmakers with limited experience who are trying to enhance their skills and credentials”
The first deadline is Thursday, October 31, 2013.
My take: kudos to bravoFACT for stepping up to the plate and funding short docs in Canada. When the Harper Government spiked the Canadian Independent Film and Video Fund, they created a funding void. Now this program promises to replace the CIFVF.