Realscreen is heading to London for the second year on Wednesday 30th September and Thursday 1st October 2015. The aim of the conference is to foster business collaborations through both structured and informal networking opportunities, to provide practical business and creative intelligence, as well as to spark debate, through a variety of high level keynotes and panel discussions. In its first year more than 400 British and international producers and buyers of factual programming attended.
The NYTVF has announced a partnership with longtime sponsor A+E Networks that will identify outstanding new producers for potential development opportunities with A&E, HISTORY, Lifetime, FYI and H2. The program, dubbed Create360°, offers independent television producers, and production companies unique opportunities with the network group. The comprehensive development program builds on the longtime unscripted partnership between the NYTVF and A+E Networks.
The Apulia Film Commission Foundation, in collaboration with the Apulia Region, is hosting the 6th edition of the Euro Mediterranean Coproduction Forum, scheduled for Thursday 1st - Friday 3rd October 2015 in Lecce, Italy. The aim of the Euro Mediterranean Coproduction Forum is to support film projects linked to the Mediterranean region. The Forum allows filmmakers to present, discuss and test their ideas at the development stage and get feedback from potential co-financers. (Photo by Shaun Merritt is back CC BY 2.0)
The Documentary Campus Masterschool helps producers and director teams develop and pitch their ideas to the international market with the help of workshops and mentoring. The programme is open to filmmakers developing factual TV series, a format, one-off documentary or cross-platform project. The Masterschool provides: 3 intensive development workshops plus one financing workshop tailored to the needs of producers and director teams The opportunity to pitch to leading commissioners from around the world at the Leipzig Networking Days in October 2016 Ongoing support after the pitch from dedicated financing experts Deep industry engagement A focused mentoring programme Input from leading factual industry experts Photo by x1klima (CC SA ND 2.0)
Sheffield Doc/Fest 2016 runs from Friday 10th - Wednesday 15th June 2016. Early bird passes are on sale for £190/80 until Tuesday 18th August. The pass gives you full access to the Festival including the Film, Interactive and Conference programmes, as well as the Marketplace, Videotheque, Social events and Parties. Every year there are a number of pitching opportunities alongside the Meet Market and Crossover Market.
GZDOC（Guangzhou International Documentary Film Festival）established in 2003, is now China’s sole state-level documentary film festival and one of the most important platforms for Asian documentary industry exchange. GZODC 2015 will be held on 7th-10th December in Guangzhou, China. Producers are invited to compete in the DocuMart for the chance to pitch unfinished projects to a group of commissioning editors from major international broadcasters and media groups, as well as other registered delegates. DocuMart of GZDOC has developed over the decade and become the most important documentary film market in Asia, showcasing the selected projects of high quality to the audience and potential funders. It offers an effective networking opportunity for the delegates, stimulating the international cooperation in the documentary film industry.
IDFA Forum offers producers the opportunity to pitch their selected projects to leading professionals in the global documentary industry, including commissioning editors, funds, financiers and distributors. This year, in addition to the Central and Round Table pitches, they are introducing two new pitch categories to increase opportunities for producers and financiers alike. All pitch categories focus on introducing the projects to industry experts, shaping the path your project will follow as well as its potential for success.
The Sundance Documentary Fund is open for applications until Monday 3rd August 2015. The fund supports independent filmmakers with cinematic, feature documentaries. Projects must include: "atful film language, effective storytelling, originality and feasibility, contemporary cultural relevance, and potential to reach and connect with its intended audience". An unfolding story with contemporary themes, strong narrative structure, unique access and high production values will be prioritised. Projects are supported at all stages; development funding is available up to $20,000.
House of Hypochondriacs w/t ( 1×60’) -Of the annual £100billion spent on the NHS, an estimated £2billion is spent on hypochondriacs. Dr Christian Jessen will put two hypochondriacs to work in the NHS in the hope of transforming them into healthcare assets.The rise in hypochondria, or health anxiety as it is now medically known, is linked […]
All 4 is the new umbrella name for all Channel 4's platforms, including online, which is the home to the Channel 4 Shorts strand. At a recent Sheffield Doc/Fest panel, the Head of All 4 and Digital Content, Richard Davidson-Houston, and Shorts Commissioning Editors Jody Smith and Issac Densu explained their remit to commission original digital content and how their audience differs from a mainstream terrestrial audience.
The first time Charlotte Fisher went to Sheffield Doc/Fest, in 2011, she was a total novice in the world of documentary making. She was a TV news reporter making a switch to factual programmes and although she’d made current affairs half hours, this was another world. In 2015 she went to the festival as a journalist, going to seminars and watching films; getting an overview of the whole festival. But she was also taking an interest with her other hat on, as a freelance producer at an independent production company.
After broadcast journalist Lisa Francesca Nand suffered her third miscarriage she decided to turn the camera on herself to document her experience and to try to find some answers as to why miscarriage might happen and how it can be prevented. After an emotional production process, the advice of a mentor and a visit to Sheffield Doc/Fest helped bring the film to completion and find a commission.
When you are developing a documentary there are many things to consider: access, narrative arc (is there an unfolding story, sufficient jeopardy and conflict to make commissioning editors take notice?) and creative approach. One thing that many filmmakers avoid thinking about - often until too late - is who the potential audience is and how to find the money needed to get the film not only into production, but finished. But these two things should be integral to the development process as they are invariably intertwined: a broadcaster or online platform is not going to fund a film that doesn't directly appeal to its core audience. Filmmakers who have more of an independent streak, who feel that they must operate outside of the mainstream - for idealistic reasons as much as necessity - are sometimes tempted to think that the normal rules of funding don't apply to them. They think if they film it, the audience will come. But they won't. In order for a film to be successful it needs fans (funders in the first instance, and audiences later on), not just at the point of release but right from the start of the process. No-one knows this better than Dunstan Bruce, a vocalist with the anarchist band Chumbawamba for 23 years.
Shepperton Studios based crewing agent Kate Watson recently attended her first Sheffield Doc/Fest; with many of her agency clients having worked on documentary films it was a great opportunity to dip into their world. But she soon ran into her first problem: how do you choose from 150 films?
In this, the latest of an occasional series I look back at some of the films I saw in 2014 at a variety of festivals including IDFA and Sheffield Doc/Fest. As usual I've roughly divided them into groups according to narrative approach; within each group of similar films I’ve listed in order of preference from best to worst (my favourites are in bold). Of course this is highly subjective and some of the films I disliked intensely have won awards, so you’ll have to make up your own mind. Some films could easily be placed in a different category but I’ve put them in what seemed to be the most prominent storytelling style for that film. However, whether you agree with my selection or not, you may find inspiration to help you decide what techniques will be most useful in developing and shaping the narrative of your own films. Having a clear idea of how you are going to tell the story will help you pitch your idea more effectively to potential funders. (Photo courtesy of IDFA)
Every November documentary filmmakers from around the world get the opportunity to pitch their projects to commissioning editors from international television stations and other financiers at IDFA’s international co-finance and production market, the IDFA Forum. After each pitch, the assembled commissioning editors and other funders are given the opportunity to express their interest/concerns and ask questions about the film. Over the course of several pitches a number of recurring, and sometimes contradictory, themes that emerge from the commissioners' feedback that can be useful to reflect on when planning your own pitch, whether at IDFA or elsewhere. Here are some of the comments from the IDFA Central Pitch in 2014 - although all the comments are project specific there are many insights that are transferable to any documentary in development, and can help you preempt potential objections to your own project. (Photo by Kennisland (CC BY SA)
When pitching a TV show or independent documentary it is now almost impossible to get away without having to make a pitch tape of some sort (sometimes several over the course of your production). You can write pages of your directorial vision, storylines, subplots and mission to change the world, but nothing takes the buyer straight to the heart of your film like a well shot pitch tape (also known as a teaser, sizzle, pilot or sample, depending on where you are in the world and the context in which you are pitching). But what makes a pitch tape effective?
In January 2014, Writer and Director Stephanie Wessell started on Sheffield Doc/Fest’s mentoring scheme, Fast Track To Features. Beginning with a relatively undeveloped idea at the time, she nonetheless progressed through the selective stages of the scheme to reach the final six and publicly pitch what is now a project-in-development, at the festival in June. These are her thoughts about generally pitching a project at Sheffield.
When labouring at the coalface of a development slate, you need as many tools as you can get your hands on to excavate those elusive gems that are eye-catching enough to catch the eye of a commissioning editor. During a Sheffield Doc/Fest 2014 session Dan Biddle (@DanBiddle), Twitter UK's Head of Broadcast Partnerships, explained how producers can mine Twitter for breaking news stories, research, audience collaboration and marketing. As you might expect of a digital platform, Twitter is all about the metrics, and has a host of audience user data that reveals information about Twitter users' lives. For example, mentions of shopping indicate that Sunday is the biggest day for heading to the shops in the UK and more people go for (or talk about going for) a run on a Monday and Tuesday than they do at the end of the week, when the pub beckons. But how does this help us in development? (Photo (C) TVMole)
Many documentary festivals have a market or forum attached where filmmakers are able to pitch their ideas to an assembled panel of potential broadcasters or other funders, often in front of an audience. Power to the Pixel is a similar forum that is dedicated to the development and funding of cross-media projects such as the interactive documentaries A Short History of the Highrise and Alma: A History of Violence. At Power to the Pixel 2014, eight projects were pitched in the Finance Forum: Block Seven (pictured); The Flickering Flame (a Ken Loach biopic that won the €6,000 ARTE International Prize); The Infinity Engine; My Enemy, My Brother; How to Kill Uffie; On Screen Off Record; Urbance and Loving Long-Distance. Although the assembled commissioning editors and digital content executives were briefed to offer advice on where the producers of each project might go for finance, inevitably there were questions about the structure, content and viability of projects. Here is a round up of the most common concerns and suggestions that may help you better develop your own interactive content.
If you are lucky, you will have established, built and nurtured relationships with the people in power long before you need to ask them for money; maybe they've been tracking your career for a number of years and are receptive to discussing your new projects in a collaborative and supportive way. But more likely, you'll find yourself a situation where you are forced to pitch cold to someone who has never heard of you, who doesn't know your work and has never heard of your project. That's intimidating enough, but then you'll find that you have to do this to a panel of people you've never met, and in front of an audience of up to 200 of your peers. And once you've pitched under the bright lights of the auditorium, you have to stand there while they deliver their equally public assessment of your project. Panels generally respond well to the following elements being in evidence in the project and expressed via the pitch. (Photo (C) TVMole)
It’s hard to get an idea commissioned as a large indie; it’s even harder if you are working solo. However, the changing media landscape means that there are an ever increasing range of outlets and platforms in need of content. At Sheffield Doc/Fest 2014 a panel of commissioners from emerging/alternative platforms outlined opportunities for more independently-minded filmmakers. For anyone frustrated by the glacial decision-making and risk averseness of traditional broadcasters (and indies), new digital platforms offer filmmakers an number of advantages.
One of the many commissioner panels at Sheffield Doc/Fest 2014 concentrated on arts programming and revealed a new trend among arts commissioners: the desire to see art in action. Most channels seem to be moving away from having a host or experts talking about art towards wanting to see artists actually performing and creating art, removing the barrier between artist and viewer.
In January 2014, Writer/Director Stephanie Wessell started on Sheffield Doc/Fest’s Fast Track To Features scheme. Beginning with a relatively undeveloped idea, she nonetheless progressed through the three selective stages of the scheme to reach the final six and publicly pitch what is now a project-in-development, at the festival in June. Here are her thoughts about pitching her documentary/drama feature project in public.
Following on from Good Pitch... advice from observing what commissioners and buyers responded well to in public pitches at Krakow Film Festival's Dragon Forum 2014 and Sheffield Doc/Fest's Fast Track to Features 2014 here are some tips on what not to do in a pitch. Negative feedback can generally be put into one of two categories: that which relates to the idea for a film and that which relates to the physical delivery of the pitch and description of that idea. If you watch a lot of public pitches you may notice that those who get to pitch first are given constructive feedback preceded by some encouragement and positivity about some aspect of the project. Those filmmakers unlucky enough to be pitching last, at the end of the day, or both, may find that the decision makers are fatigued and therefore a little less diplomatic in their critiques. (Photo (C) TVMole)
If you are planning to pitch your documentary to funders you'll no doubt spend much time on displacement activities such as dusting and doing the washing up rather than knuckling down and actually preparing your pitch. Nobody likes pitching; it's an uncomfortable, exposing and potentially embarrassing experience - especially if you are unfortunate to be pitching your project at one of the big forums such as Hot Docs in Toronto or IDFA in Amsterdam. Never been to a forum before? Scroll down to see what that actually looks like (and weep). But if you are going to get your film financed you'll have to pitch it at some point, there's no getting out of it so you may as well get used to it. At IDFA 2013, Danish producer Sigrid Dyekjær came to the rescue with her inspiring pitching tips in a session called The Future of the Art of Pitching. Sigrid Dyekjær is the founder/co-owner of Danish Documentary Production and was due to pitch some of the projects she used as case studies at the IDFA Forum later in the festival. (Photo (C) TVMole)
Here's a list of some of the most memorable documentary films I saw, roughly divided into narrative style; the films grouped at the top of the list I generally found most enjoyable and satisfying and within each group of similar films I've listed in order of preference from best to worst (my favourites are in bold). Of course this is highly subjective and some of the films I disliked intensely have won awards, so you'll have to make up your own mind. Some films could easily be placed in a different category but I've put them in what seemed to be the most prominent storytelling style for that film. However, whether you agree with my selection or not, we can learn from the different narrative approaches chosen by the filmmakers you may find inspiration to help you develop and shape your own films. Having a clear idea of how you are going to tell the story will help you pitch your idea to potential funders (and ulimately the audience) more effectively, and also help you keep on track schedule- and budget-wise. (Photo: Jingle Bell Rocks! courtesy of IDFA)
IDFA in Amsterdam is always my chance to concentrate fully on watching films over anything else and typically watch around 25+ films over the course of several days. This focused immersion in documentaries is guaranteed to be thought-provoking and often throws up several interesting themes or trends; here's a round up of my top three favourite films from IDFA 2013 with an attempt to articulate what makes them successful. I've chosen these documentaries on the basis that of the 22 films I saw these were the ones I found most enjoyable and that have stayed with me, and I would definitely watch them all again. But beyond being enjoyable, what can we learn from these films that could help us when developing and pitching our own films? (Photo courtesy of Dogwoof)
Sophie Robinson is a London-based producer/director with a host of science TV credits such as Horizon, Meet the Ancestors and Your Life in Their Hands. She’s just embarked on her first feature-length documentary My Beautiful Broken Brain here she shares what she's learnt from launching her first crowdfunding campaign.
Industry intelligence, how-to articles and international pitching and funding opportunities – everything you need to get your factual TV programme commissioned.