Friday, 15 January 2016

research portfolio - Online platforms for distribution and short film festival entry

there are 7 types of film festivals which are

1. Raindance Film Festival *Oscar qualifying
2. London Short Film Festival• Edinburgh International Film Festival
3. London Short Film Festival
4. Manchester International Film Festival
5. Encounters International Short Film Festival *Oscar qualifying
6. Leeds International Film Festival
7. Aesthetica Film Festival

Encounters is the UK’s leading short film and animation festival.

The festival discovers, supports and develops new talent in filmmaking, providing a platform for emerging and established filmmakers from around the world, and a unique meeting place for the industry.

Encounters Festival presents one of the world’s leading International Competitions for short film and animation, and is also an official gateway to the world’s most prestigious awards; BAFTAs, European Film Awards and Cartoon d’Or and a qualifying festival for the The Academy Awards®.

Each year the Encounters Festival Grand Prix winners qualify for consideration in the Short Films category of the Annual Academy Awards®.

The 21st Encounters Festival in 2015 presented the annual International Competition showcasing the best new short film from around the world, alongside an intensive 3 day industry programme which featured masterclasses, panel discussions, talks and workshops with leading figures from the film and animation industries.

Connecting industry and audiences, the festival celebrates the creativity, diversity and impact of short film.

So whether you are a filmmaker looking to launch or develop your career, an Industry professional wanting to stay abreast of what’s new or a film lover wanting to soak up the festival atmosphere by watching great films and special events, come along to the next festival for a truy inspiring week of short film celebration!

In 2015 Encounters Festival celebrated 21 years as the UK’s leading short film and animation festival.

About the Edinburgh International Film Festival

Established in 1947, the Edinburgh International Film Festival is world renowned for discovering and promoting the very best in international cinema - and for heralding and debating changes in global filmmaking. Intimate in its scale, ambitious in its scope, and fuelled by pure passion for cinema in all its manifestations, EIFF seeks to spotlight the most exciting and innovative new film talent, in a setting steeped in history.

ASFF
The first festival took place in 2011, attracting filmmakers and audiences from locations as diverse as South Africa, New Zealand and the USA. ASFF 2012 built upon the success of the inaugural event with even more films and speakers, and continuing its drive to champion the art of short filmmaking, screened 200 films from 25 countries. ASFF received BAFTA (British Academy of Film and Television Arts) Qualifying status in 2014, screening over 300 films from 40 countries and attracting 18,000 admissions.

ASFF 2015 celebrated the festival’s 5th anniversary with an even bigger programme of films and industry events, totalling over 35 masterclasses and networking sessions. Some of the world’s most acclaimed talents came to York to offer masterclasses, including Channel 4, Ridley Scott Associates, National Theatre, director Tim Pope and editor Robbie Gibbon, together with festival programmers from across the world.

raindance film festival and encounters international short film festival are both Oscar qualifying

with the help of Netflix, i will be able to have my short film presented on Netflix. this is because Netflix stream short films as well as movies.

research portfolio - Guidance/criteria for writing for a successful short film

What Makes a Good Short?

There are no hard-and-fast rules as to what makes a good short film but here are a few tips that might help.

There are no hard and fast rules as to what makes a good short; as with features, different audiences love different films and an award-winner in one viewer's eyes will be a dull cliché in another's. Obviously there is an element of subjectivity to any short film programme as different exhibitors will set their own criteria as to what they think makes a good short, which they feel their audience will enjoy. Whilst this can be frustrating for filmmakers it isn't necessarily a bad thing, as, what one exhibitor rejects another will love and promote – so it is important not to get disheartened by rejection. In many ways it is an exciting time to be making shorts in the UK as there are wealth of different festivals, screening organisations, websites and content providers looking for short films to exhibit. Our advice would be to submit your film to as many places as possible.

However, having said that, here are a few basic tips for what exhibitors might look for in a good short film:

An Exciting & Original Idea

Original ideas are not easy to come-by but a good way of avoiding clichéd ideas is to watch lots of other short films, look out for any trends and stay clear of them (See our Related Links: Recommended Watching for places to watch shorts). Even if your idea isn't completely original try to look at the subject matter from a different angle or using a different style/technique. If you're struggling for ideas, you could try to find inspiration in your experiences or those of the people that you meet or through the stories that you read in newspapers, magazines and online.

A Strong Script

A good script is key to narrative-based short films and in many ways it's harder to write a short than a feature because you need to condense your story and develop your characters in a very short space of time. All too often films are let down by weak, overwritten or underdeveloped scripts. Before investing money, time and effort into shooting your film, it's a good idea to test your script out on friends and strangers (as friends might fear offending you) and get as much feedback as you can. See ourFilmmaking Guide: Writing a Script for more advice & ourRelated Links: Writing for scriptwriting organisations, resources and communities. If you write and direct your own films, it's a good idea to consider where your strengths lie. It's great if you can do both but if you think you're stronger at direction/animation then why not consider collaborating with a talented scriptwriter and see what results come of it?

Good Acting

Unless your friends are actors or demonstrate acting talent, it's a good idea to avoid casting them in your film. Even one bad actor in a film can really let it down and destroy the viewer's belief in the reality that your film is seeking to create. There are lots of great actors out there who are willing to work for reduced fees to learn their trade and make a name for themselves. You can find actors through advertising on the message boards of filmmaking communities (see the Filmmaking Communities Section in ourRelated Links: Filmmaking Organisations & Communities or via online casting sites such as The Spotlight. For more information on finding cast see our Filmmaking Guide: Cast & Crew or see the casting section of our Related Links: Production

High Production Values

Whilst digital filmmaking has had the positive impact of making the process more accessible and affordable, it's important to ensure that you still apply the same production values that you would if you were shooting on film with a crew. Many low-budget shorts are let down by poor sound, lighting, camera work and editing and/or by directors who are trying to do it all by themselves without anyone else's input. Filmmaking is predominantly a collaborative process and it's much better to find crew who are specialising in these areas who can offer different skills. You can use the message boards of filmmaking communities (see the filmmaking communities section in our Related Links: Filmmaking Organisations & Communities) to find crew to collaborate with. If you're new to filmmaking, one of the best ways to learn the skills required is to assist on other people's films. Also check the message boards for call outs for volunteers from filmmakers. However if you'd like more formal training you can find out about training or film schools in our Filmmaking Guide: Training & Development and find links to organisations and resources in our Related Links: Training

Make It Short

As a general rule, the longer your short film is, the harder it is to keep the viewer's attention. This is especially true of online viewing – for instance on Film Network the average time that a viewer spends watching a film is 4 minutes. Note – exceptions to this rule is documentary, which viewers will often watch for longer. Many festivals don't accept short films that are over 30 minutes long; a long film will really have to impress the programmers for them to include it in their screening, as it means they will not be able to show so many films in their short film programme. One filmmaker told us about a film he made that was 26 minutes long. He applied for festivals all over the world and was rejected by them all. A year later he re-cut the film to 10 minutes and resubmitted it. His 10-minute cut was shown at numerous festivals worldwide and was broadcast on a digital channel. Very short films, especially romance and comedies, can be popular with distributors and buyers as they are easier to programme and can be sold to multi-platforms e.g. online, mobile, VOD etc.

Strong Beginning

Most programmers/distributors will be inundated with submissions and so your film has to grab their attention from the very first shot. The harsh reality is that if your film doesn't pique their interest within the first two minutes, in all likelihood they may not sit through it till the end. Don't waste time on lengthy introductions and credits – spark their interest in the story as quickly as you can. Credits at the start can distract the viewer (especially if the direction, production and editing are all by the same person!) so leave them out unless you have it written in an agreement with one of your cast. Similarly if your film starts with a long establishing shot where nothing really happens, viewers may switch off before you get to show them your great plot and idea. If the pace of your film is naturally slow and ambling, make the shots as rich and enticing as possible to draw the viewer in. Note – a good editor can really transform a film. If you're directing and editing your own film you might be too attached to certain shots to know which bits to chop out to make your film a stronger, more coherent piece. In big blockbusters, scenes that have cost thousands or even millions can be chopped if the studio/filmmaker feels that they are not integral to the final edit of the piece.

Avoid Repetition & Punchline Twists

Whilst sometimes a repetitive scene can be used for comedy/dramatic effect (Groundhog Day being a classic example of where this can work), if you are not careful it can end up being repetitive and predictable. Comedy is notoriously difficult to pull off in short films – if you're looking to make humorous shorts then it's a good idea to test your idea on an audience (why not post a short clip on a site like YouTube or MySpace and see what feedback you get?) or to cast your film carefully and get a funny actor. Be careful of one-line gag/punchline films. Some shorts can do this to great success but many often fall flat. If you've got a great punchline twist then consider making it short and snappy as viewers might be disappointed if they sit through 7 minutes for one joke at the end, especially if they've already seen it coming.

Exciting New Techniques & Style

Even an average plot can be made intriguing by an exciting new technique or style - whether it be a new kind of animation, camera work or art direction. Try experimenting and developing your own style. Note – having said that, beware of style over substance.

from this source of research, this has taught me how to make a successtul short film. i have come to a conclusion of keeping my short film shot, snappy and having only one scene - which will be in a dark room. this has also taught me to make sure i have good actors in my short film which will mean me selecting certain people that have the ability to act to near-professional. alhough my idea is based off the film, The Possession, it is an exciting idea because to my knowledge, there has not been any short films made based of the possession.

research portfolio - kickstarter

Kickstarter is an enormous global community built around creativity and creative projects. Over 10 million people, from every continent on earth, have backed a Kickstarter project.
Kickstarter helps artists, musicians, filmmakers, designers, and other creators find the resources and support they need to make their ideas a reality. To date, tens of thousands of creative projects - big and small - have come to live with the support of the Kickstarter community.

From this research I have found out what kick starter do for people that are thinking or planning to make short films. Many different people from around the world are able to donate money to them so they are able to make their idea come to life.

research proposal - netflix

Sell A Movie To Netflix

SEPTEMBER 24, 2015 BY JASON BRUBAKER

The world of indie filmmaking is abuzz with folks wanting to sell a movie to Netflix. And this is for good reason. With over 30 million subscribers, getting your movie into the platform would represent exposure. As a result, many filmmakers have been leaving messages at my office like this:

I want to sell a movie to Netflix! I just want you to know that I don’t care about money. In fact, if I can’t sell a movie to Netflix, I’d be happy to put my movie on Netflix for free.

If you’re having similar thoughts, you may want to rethink a few things. While the opportunity for exposure feels enticing, accepting a silly deal doesn’t pay the bills or pay back your investors.

Sell a Movie to Netflix

Unlike many video on demand platforms, the majority of Netflix deals still happen the traditional way. A filmmaker finds a distributor. The distributor negotiates a deal with Netflix. And then the filmmaker gets paid a licensing fee for one or two years.

Think of Netflix the same way you think about HBO or Showtime. What’s in it for Netflix to pick up your movie? Will your movie help attract new subscribers or retain current subscribers?

How Do You Attract Netflix?

There are two popular ways to attract Netflix. You can go old school, whereby you get into major festivals and markets (like AFM, Sundance, SXSW, Toronto, et al) and garner the attention of the NetFlix acquisitions team. Or you can work with a distributor or sales agent with a Netflix relationship.

In both instances, if you want to score a Netflix deal, your movie better have star talent, thousands of social followers and tons of traditional publicity. If not, then getting a Netflix deal (that actually pays money) will be challenging.

Alternatives To Netflix Distribution

When it comes to Netflix, many filmmakers argue that the exposure is more valuable than money. If that’s true, then let me remind you that piracy is also good for exposure and involves less work.

If you are truly looking for exposure, the subscription service offered by AmazonPrime is one of the best alternatives to Netflix. Amazon Prime has millions of subscribers and they are very filmmaker friendly. This makes Amazon Prime a great platform for “discovery.” And unlike Netflix, Amazon Prime actually pays you every time someone streams your movie.

If you’re interested in Amazon Prime, you’ll need to work with a direct Amazon aggregator like my current employer Distribber. And while you’re at it, if you’d like more info on modern distribution tactics, check out the Independent Producer’s Guide To Digital Distribution.

From this piece of research I have concluded that if i was to sell my short film to netflix. then i would need to have a high social status, such as a large amount of twitter or instagram followers (over 10k followers). a disadvantage of selling my film to netflix is that for every stream, i would not get paid, like what amazon prime does; for every stream the filmmaker gets, they are paid. in my opinion, i would rather sell my film to AmazonPrime, as it is a 'great platform for discovery', and are also friendly with new filmmakers. another reason for why i would sell my film to amazon prime is that they have millions of people that have subscribed to their high platform.

Wednesday, 13 January 2016

Research portfolio - film regulation/certification bbfc

All classification decisions are based on the BBFC’s published and regularly updated Guidelines. The Guidelines are the product of extensive public consultation, research and the accumulated experience of the BBFC over many years. They reflect current views on film, DVD and video game regulation.

· U
Suitable for all

· PG

Parental guidance

· 12
Cinema release suitable for 12 years and over

· 12
Video release suitable for 12 years and over

· 15
Suitable only for 15 years and over

· 18
Suitable only for adults

· R18
Adults works for licensed premises only

Films or theatrical release are normally classified by at least two Examiners using the published Guidelines. In most cases the decision is ratified by a Senior Examiner, but if the Examiners are in any doubt or fail to agree, or if important policy issues are involved, the work may be seen by other members of the Board up to, and including, the Director and Presidential team. Occasionally it is necessary to take specialist advice about the legal acceptability of film content or its potential for harm. DVDs are normally seen by one Examiner, particularly when they are viewing the DVD version of a cinema film which has already been classified. However, opinions from other Examiners may be required for more difficult works.Examiners look at issues such as discrimination, drugs, horror, imitable behaviour, language, nudity, sex, sexual violence, theme and violence when making decisions. They also consider context, the tone and impact of a work (eg how it makes the audience feel) and even the release format (for example, as DVDs are watched in the home, there is a higher risk of underage viewing).

Research Portfolio - budget

The box ofice for the posession

The estimate buget for the posession is £14,000,000

Gross
$49,122,319 (USA) (18 November 2012)
$49,075,982 (USA) (11 November 2012)
$48,982,127 (USA) (4 November 2012)
$48,879,997 (USA) (28 October 2012)
$48,833,630 (USA) (21 October 2012)
$48,732,048 (USA) (14 October 2012)
$48,391,383 (USA) (7 October 2012)
$47,411,722 (USA) (30 September 2012)
$45,291,617 (USA) (23 September 2012)
$41,133,490 (USA) (16 September 2012)
$33,166,582 (USA) (9 September 2012)
$21,078,840 (USA) (2 September 2012)
$49,130,154 (USA)
$69,899,892 (Worldwide) (7 October 2012)
$85,446,075 (Worldwide)
$36,315,921 (Non-USA)
€2,063,270 (Spain)

From this piece of research , I have come to a conclusion of finding out my budget, which will be £50. This is because I will not need to pay for a camera or a editing suite. I am able to get a free camera and a editing suite because there are cameras I can lend from the media department and a mac suite which has Logic Pro X, and mac computers in school. With my £50 budget, I will be able to pay for transport, props, costume and food for my cast and crew.

Eunice Gardiner