Mont Blanc creates "The Beauty of a Second" One-Second Film Festival

 

Normally I'm not crazy about advertising gimmicks masquerading as corporate sponsored "film festivals," but this one is creative and compelling. The video above is a compilation of some of their best entries. The competition is open until December 13th.

From the official website:

190 years ago Nicolas Rieussec recorded time to an accuracy of a fifth of a second. The chronograph was born.

To celebrate his invention we challenge you to "seize the moment" and capture the beauty of a second.

The subject? It can be anything as long as it celebrates the fragile beauty of this short-lived unit of time.

 

Infographic introduction to crowdfunding

pic

Long, scrolling infographics like the one linked here have become a bit of a fad – the best ones tell an engaging story by visualizing related information in ways that make that information easier to understand. This one doesn't quite reach the heights that I've seen in really great infographics – it's too monochromatic, and some of the information isn't helped by its graphical presentation. Still, there are some good tidbits here. Raising funds through sites like Kickstarter is now an essential part of independent filmmaking so it's good to know all you can about the phenomenon of "crowdfunding."

See the full infographic here.

5 Great Gifts for Filmmakers on the Festival Circuit

It's the day after Thanksgiving – let the shopping begin! And don't forget the filmmaker in your life while you're at it. Here are some things that are essential to any filmmaker entering the film festival circuit.

pic5. A good travel bag like the ones made by Crumpler. At a festival a filmmaker needs to carry all sorts of things with her – promotional postcards, screener DVDs, cell phone charger – the list goes on. Crumpler makes some of the best bags I've seen. They're durable, attractive, and well-designed. For a festival day bag I recommend the Western Lawn messenger bag (pictured), but for more room consider The Complete Seed, a mammoth bag that can handle all your laptop/carry-on needs.

4. Submissions fees. Filmmakers spend a lot of money submitting to festivals and they rarely budget for this expense. You can help quite a bit by pledging to cover a submission or two. Fees run anywhere from $20 - $100 depending on the festival and timing (later deadlines are more expensive).

3. Lloyd Kaufman's bookMake Your Own Damn Movie! It's difficult to think of someone more qualified than Lloyd Kaufman to write a book like this – Kaufman held his own studio, Troma, together with his bare hands for decades. The book covers practically every aspect of filmmaking, including a short section on film festivals. If you're already a fan of MYODM, you should know that Kaufman wrote three follow-up books, Direct Your Own Damn MovieProduce Your Own Damn Movie, and Sell Your Own Damn Movie.

pic2. The iPad 2 or Kindle Fire tablets. I'm seeing tablet computers like these more and more on the ground at festivals – they're a great way to show off a short film or film trailer to someone who wants to know more about you as a filmmaker. They're also lightweight and offer the ability to check your email and web site on the go. The iPad 2 ($499 and up)  is the gold standard of course, but I'm hearing good things about the Kindle Fire ($199) as a portable video player for budget-conscious filmmakers.

1. The print edition of Film Festival Secrets. (Also available in Kindleand iBooks editions.) What kind of author would I be if I didn't include my own book in this list? If there's a better stocking stuffer for your festival-bound filmmaker friend or relative than this book, I don't know of it. Amazon currently offers a 15% discount on the book so you'll save a few bucks in the process.

Brian Chirls explains Crowd Controls at SXSW 2010

Yet another in our series of South by Southwest 2010 videos, this time with Brian Chirls, creator of Crowd Controls. This venture is based on his work with Four-Eyed Monsters and is currently powering some of the fan engagement with Iron Sky.

Thanks to Mark Potts for shooting and editing this video.

Edward Burns on festivals and digital distribution

Q. After your experience with Purple Violetswhich was released exclusively on iTunes, did that sour you on the prospects of digital distribution?

A. For us, Purple Violets didn't have the highest profile. I don't know how well it did for the financiers. The problem I've had the last couple years is, you make these films, you get released in New York and L.A., and then you're going to platform from there. A lot of times you don't get beyond the second platform. But I've always had the ability to get pretty decent publicity for my films. You have, let's say, people in St. Louis and Kansas City and Cincinnati who might see Selma Blair on Conan talking about the film, get really excited for it, and then it doesn't get to that city. And by the time it comes out on DVD, they've forgotten about seeing Selma Blair and getting excited. What the iTunes thing enabled, in the moment when you have your greatest heat, publicity-wise, everybody who's into your film can access your film. For the small movies, that's probably the model that makes the most sense.

YouTube quietly expands online rental store

According to a YouTube spokesperson via email, “When we announced YouTube Rentals in January we said we would be creating a destination after more partners joined the program. To date, we have nearly 500 partners that have joined our Rental program.


YouTube's online rental concept was introduced at the Sundance Film Festival in January and it looks like their model of presenting films currently running the festival circuit will continue. For example, you can rent Metropia (which has played extensively in Europe, at Fantastic Fest, and is now playing at Tribeca) on YouTube for $5.99.

OpenIndie Hopes to Bring Theaters within Filmmakers' Reach

Eric Kohn's article in indieWIRE explores a new startup concept from Arin Crumley and Kieran Masterton.

OpenIndie.com will allow filmmakers to input their e-mail lists and discover locations with high audience demand. The grassroots strategy allows movies to reach their intended audiences with a community-based approach. Because the site is open-sourced, anyone can enter a location into the site and figure out the level of interest for specific movies.

Read DIY With a Little Help: OpenIndie Hopes to Bring Theaters within Filmmakers' Reach.

The Kickstarter page for OpenIndie has an explanatory video and a donation button.

SXSW Panel Picker - it's time to vote.

PanelPicker Since 2007 the South by Southwest Film Festival (and its sister Music and Interactive events) have allowed attendees to suggest panel ideas and then vote on them using a web site called the PanelPicker. It's not the only method by which the SXSW team selects what panels to present, but it formalizes the process of gauging audience interest in particular topics. They've continued to use the PanelPicker since its inception, so I'm guessing it's a fairly useful tool for the programmers and it certainly makes the target audience feel included.

The PanelPicker for 2010 is currently open for audience voting, and for the first time I've submitted a panel idea: Short Film Secrets. I get a lot of questions from the creators of short films asking how the concepts in Film Festival Secrets apply to short films in particular. There are also a ton of questions out there about the distribution potential for short films, how they can be used to give your career a boost, and which festivals are best for short filmmakers. So that's the panel I think SXSW should host, and I hope you like it well enough to vote for it.

Some other notable panel ideas include:

  • Crawford filmmaker David Modigliani's "Adventures in Distribution: Innovative Filmmakers' Risks and Rewards"
  • Cinekink festival director Lisa Vandever's "The Porn Police are STILL at the door"
  • Atlanta Film Festival director Gabe Wardell's "Premiere status: saving it for 'marriage?'"
  • Toronto Film Fest's Jane Schoettle suggests "Festival Strategies for Independent Film"

    Voting ends in about a week on September 4th, so get in there to vote early and often!

  • Twitter, File Sharing and Pink Slime

    Brian Chirls on Jake Abraham's Tweet This.

    What this is really about is taking advantage of Twitter and other communication tools to play a major part in the global conversation about your work. (If there isn’t one, you need to start it.) Piracy on Canal St. happened before the Internet, and illegal downloading happened before Twitter. As Abraham acknowledged, you can’t stop it. Beyond pointers to free downloads, people are going to be saying lots of things about your film that you don’t like, including bad reviews, off-brand descriptions of your work and possibly even lies or personal attacks. The power of the Internet is that you can be in on it. You can know it’s happening, you can respond to it and you can preempt it.

    Read Twitter, File Sharing and Pink Slime.

    Paper DVD labels: still evil (and three alternatives)

    If you've read the book you know about my campaign against paper DVD labels. They are a cheap and easy way to make your burned DVD-Rs look vaguely professional, but they can severely alter video playback to the point of making a screener unwatchable. Google it up if you don't believe me. The most compelling evidence comes from the Memorex Reference Guide for Optical Media:

    Paper labels are not recommended for DVD discs. The expansion and contraction of moisture in the paper and the accumulation of heat in a DVD drive can alter the flatness of a disc enough that it falls out of the tilt specification and may not be able to be read.

    This advice still hasn't quite made it into the conventional wisdom – I still see plenty of paper labels on screeners – but when prompted, festival directors tell me that most of their bad screener copies are adorned with paper labels. There are, however, some alternatives that will get the job done and preserve the integrity of video playback. They are:

    sharpie

  • Hand labeling with a Sharpie marker. Low-tech and the least professional-looking option, perhaps, but reliable and very inexpensive. So long as you write legibly, don't worry about a hand-labled disc hurting your chances of acceptance; the quality of your film will determine that, not the surface of the DVD on which it arrives.

    Lightscribe

  • The LightScribe labeling system can create good looking "printed" disc surfaces without ink or a printer. You'll need a LightScribe-enabled DVD burner and DVD discs with LightScribe coating. Here's how it works:

    The laser inside a CD/DVD disc drive with LightScribe technology focuses light energy onto a thin dye coating on the label side of the disc. Only LightScribe media has this special coating. The light from the laser causes a chemical change in the dye coating that shows up on the disc. With laser precision, the drive renders the text and images that you created for the label.

    Although the cost of LightScribe discs has come down quite a bit in recent years, they are still somewhat more expensive than regular DVD-Rs, even the ones with white printable surfaces (see below). Perhaps the biggest drawback to Lightscribe is the amount of time it takes to burn an image on the coated surface; I've seen estimates of a few minutes for a simple text label to up to half an hour for a complex image.

    printed

  • Printed DVDs, though more time-consuming and expensive than hand-labeled DVDs, can't be beat for looks. Buying discs with a white printable surface isn't much more expensive than the plain silver-surfaced media and the printers and ink are widely available. The big drawback here is expense; inkjet cartridges are pricey and notoriously fussy. If you've got a good label design and the funds to spend, however, this is definitely the best way to get great looking DVDs.

    A cheaper alternative is a thermal transfer printer like the ones made by Casio; they won't get you four-color printing but they will print on plain silver discs which are inexpensive and get you good-looking results.

  • Steal this idea - Secret Party for your Twitter followers

    Festival directors reading this can steal the idea outright, but filmmakers may need a little more creativity to make it work for them. Either way, it's a clever and subversive way to boost your Twitter followers – the Atlanta Film Festival withheld the details about one of their parties, releasing the details only on Twitter. (You can find them at twitter.com/atlantafilmfest.)

    Below is a quick snap of the party page of the Atlanta Film Festival's program guide.

    Secret Party

    Festival Genius makes SXSW easier

    picThings have been a bit quiet around here lately because it's been all hands on deck for the launch of Festival Genius, B-Side's new scheduling tool for film festivals. If you're attending South by Southwest this year I encourage you to give it a whirl. Fest Genius not only helps you figure out what to see, it can automatically find and fix conflicts so you can see the maximum number of films possible in the allotted time.

    Once you're done tweaking your schedule to perfection, Festival Genius will even export your event calendar to Outlook, your iPhone, or other calendar program. Or go old school and print it out.

    The Festival Genius for SXSW 2009 includes film, music, and interactive events (including panels and parties), so if you're headed to Austin this coming week, please check it out.

    Distribution & Consumption in 2009

    The face of yesterdayRoger Erik Tinch (art & online director at CineVegas) pens a few thoughts on the future of how we will consume films in the next year and how they'll be delivered to us. Most interesting to me were his thoughts on physical media:

    Most recently THE DARK KNIGHT, selling 10 million units, and MAMMA MIA! THE MOVIE, selling 2 million units in it’s first day, have done huge blockbuster sales amidst a grim economic backdrop. The fact that these films exist in HD on iTunes hasn’t slowed down their plastic disc counterparts. Now I’m not saying online distribution won’t succeed, I’m just saying it will succeed, but only in the rental realm. Instead of popping on down to your local Blockbuster you’ll instead power up your Xbox or TiVo and order something while in your pajamas.

    While this makes sense from a certain perspective, I have become completely disenchanted with the idea of owning a DVD library. Maybe it's just the fact that this panoply of DVDs overwhelms my smallish living space or that being a new parent has made movie-watching time a rare and precious thing, but I'm looking forward to the day when these shiny plastic discs can be housed completely on a vast (and cheap) hard disk or, better yet, hosted in "the cloud" for quick and easy retrieval on command.

    Read Distribution and Consumption in 2009 on the CineVegas Blog.

    BTW, that's not Roger in the picture, that's my former college roommate Scott -- but the fact that movies were once stored on laserdiscs bigger than the human head always makes me laugh.

    When good disks go bad

    Over the last couple of weeks I've had one of those weird occurrences of synchronicity -- the same question keeps popping up from filmmakers in different places on the web. (In the case of the Withoutabox message boards, it popped up twice in the same place within a few days.) The question concerns the DVDs (or more likely the burned DVD-Rs) that filmmakers send in as their submission screeners, and what happens when the festival can't play it. With varying levels of panic, the question goes something like this:

    If you can't play my DVD, is my film disqualified? Will you notify me so I can send you a replacement? I've heard horror stories from other filmmakers about festivals that just throw the disks away and move on.

    My first reaction was to downplay this reaction as ridiculous -- of course festivals (at least the vast majority of reputable festivals) don't just throw away bad disks without notifying the submitting filmmaker. A screw-the-filmmaker attitude like that would surely creep into other, more noticeable portions of the business and, filmmakers being a fairly tight bunch, word would get around. The more I thought about it, though, the more I realized that it would be a fairly easy rumor to believe. Submitting filmmakers don't get much communication from festivals until they get a yes or a no. Wouldn't it be easy for festival staffers to think of those filmmakers as a faceless mass of entrants -- and who cares if a film or two falls through the cracks?

    The reality though, is that festival staffers are often filmmakers or former filmmakers themslves, and they care enough about the process to make the effort -- at least once.

    I put the question as phrased above to Andrew Rodgers, Executive Director of the RiverRun International Film Festival:

    Wow. Some festivals might do that. We don't. We will always email the filmmaker and suggest that they send in another disk. It will probably just be an email though, we won't spend a lot of time tracking down a filmmaker by phone, particularly if they are outside the U.S.

    And to Bekah Macias, Festival Producer of the San Diego Film Festival, who said:

    If we come across a DVD that will not play the screener will alert the Programmer immediately. I take it and email the filmmaker right away so they have a chance to send a new one. If I don't hear back from them by the time we begin making selections I throw it out. I usually do not make more than one attempt at contacting them. The closer it gets to the submission deadline the less likely they will waste their time trying to get a replacement.

    If you can find a festival director who admits to a radically different policy, I'd like to know about it.

    YouTube Unveils 'Screening Room' For Free Indie Movies

    picGood news for indie filmmakers - YouTube is opening its doors to long-form independent films. While it's not quite a free-for-all yet, it does bode well for those filmmakers who want to promote their films by giving them away as streaming video. As discussed previously, making your film readily available to view for free can actually increase your sales. YouTube also plans to sell advertising overlaid on the films, the revenues from which would be split with the filmmaker.

    From the Silicon Alley Insider:

    YouTube (GOOG) added some new details Wednesday night on its plan to make indie film and other long-form video part of the menu. Namely, a dedicated area within YouTube called "The Screening Room" that will host indie film, and offer tools to help producers build an audience and generate revenue.

    YouTube will add four new indie films every two weeks--including some that have appeared in film festivals and others that have never been seen before.

    Details on how YouTube plans to make money, or allow famously cash-strapped indie producers to make money, are thin. A press release said "The Screening Room" will include a "Buy Now" button allowing filmmakers to link to Web sites that sell DVDs and digital downloads of their films, as well as what it calls a "high quality" player to watch on the Web.

    Read Read the full Silicon Alley Insider article.

    Blue Glow: First evening with the Netflix Roku box

    Roku box screenOver on my film & tech blog, Blue Glow, I posted my first impressions of the Netflix Roku box, which allows you to watch movies as streaming video directly to your television. Boxes like these will play a large part in how we watch movies in the coming years. Indie filmmakers would do well to pay attention to which ones are the most popular and how the rights-holders get paid. Given that only 10% of Netflix's DVD catalog are available on the Roku box, there's plenty of room for indies to be seen alongside the other content -- and competing with old episodes of Kojak should be somewhat easier than trying to be discovered opposite the latest Pixar release.

    Read Blue Glow: First evening with the Netflix Roku box.