All letters of inquiry for projects in production and post-production are due on Friday, January 20 at 11:59pm. You can read more and apply on the How to Apply page of LEF’s website.

The post LEF Moving Image Fund Info Session appeared first on LEF Foundation.

 LEF is excited to have been a sponsor of the International Documentary Association‘s Getting Real Conference back in September 2018, and over the next several months, LEF Program Officer Gen Carmel will be sharing notes on several of the more resource-rich panels she attended at the conference. This month: five takeaways from the panel “Working with International Broadcasters“.

• Takeaway #1: At the BBC, Storyville is the only broadcasting strand that accepts international feature documentaries. They like to come into co-producing early on in the project if possible (and this is most of what they do), but Storyville can also fully commission work and offer pre-buy investment. The program is open to more experimentation in form (NOTES ON BLINDNESS and THE RAFT were two examples offered), but they generally look for films that will always have a broader resonance. Learn more from Storyville’s Commissioning Editor Mandy Chang on the BBC’s priorities and how to submit your work.

• Takeaway #2: Margje de Koning, the Chief Commissioning Editor for EO/IKONdocs in the Netherlands, shared that they look for creative documentaries and journalistic pieces, especially works that offer ideas, solutions, and examples of positive reconciliation in the world. She shared that Dutch audiences don’t need hand-holding in their films, and that films with a slower and more subtle pace are fine (whereas she is aware that many US filmmakers are accustomed to being told they need to have fast, catchy film openings). She also offered that pitching sessions in person are the best place to connect with her. See a selection of past films.

• Takeaway #3: Axel Arnö, the Commissioning Editor for documentaries appearing on Swedish Television (SVT) shared that Sweden has a broadcast audience of 10 million people. SVT’s release strategy is increasingly to release all content on the web first, on the Sunday before its television broadcast date, to be inclusive of both younger and older viewers. The films that SVT looks for are generally about “big, bold issues”, and Axel shared “we need you to give us your view of the world”. Documentaries with a strong narrative are more dominant, whereas essay films are also important, but in the minority for what SVT picks up. See a selection of past films.

• Takeaway #4: Rudy Buttignol, who heads British Columbia’s public broadcaster, Knowledge Network, shared that they are looking for documentaries about arts and culture, history, and social issues, but that it’s more effective to connect with him in person at a festival pitching session, rather than by sending a proposal to him by e-mail. At this, several members of the audience spoke up later to ask about how broadcasters were committed to ensuring diversity behind the camera when the only way to meet international broadcasters is via the attendance of in-person pitch sessions, which are often expensive for any emerging filmmaker to attend.

• Takeaway #5: Annie Roney from Ro*co Films responded to the issue of inaccessibility and diversity by suggesting that another path filmmakers can take is through acquisitions – a company like Ro*co can go to international film markets and festivals to represent your film when you’re not able to attend. Annie shared that there are films that really benefit from a local broadcaster championing them with both money and reach – what Ro*co does is to form an international coalition of buyers who trust Ro*co’s curation, and who agree to pool their money into a signed broadcasting/distribution deal with an unknown film of Ro*co’s choosing. She shared that this doesn’t always compete with a global Netflix deal in terms of licensing fees, but that the marketing power and local reach of a coalition of broadcasters can be very powerful. Learn more about submitting to Ro*co here.

The post Notes from Getting Real, Part 2: International Broadcasters appeared first on LEF Foundation.

• Takeaway #1: NEH prefers funding projects that are based in humanities research (including history, art history, film studies, literature, religious studies, philosophy, or anthropology), and which take an analytical approach that helps to engage critical thinking. This means having a certain mastery of the subject matter you’ll be exploring, a team of humanities scholars on board as academic advisors for your project, and avoiding a more celebratory approach to your project.

• Takeaway #2: If you are thinking of applying for NEH funding, send an e-mail to Senior Program Officer David Weinstein three months ahead of one of their two deadlines in August or January to ask for a phone call about your project, and David can help to advise about whether your project is a good fit for NEH’s funding priorities. When first sharing your project, David gives the advice of approaching this initial e-mail to NEH as a conversation, rather than providing all of your film’s details at once. Also, leave your phone number in the e-mail. David’s e-mail address is dweinstein (at) neh.gov.

• Takeaway #3: The NEH panel process involves 2 rounds of review, including an initial decision made by a group or peer review panelists chosen by NEH staff, and then a second round of decisions made by the National Council on the Humanities, a group of 26 presidential appointees.

• Takeaway #4: Prepare to write – a lot! Applicants are expected to submit 20-25 pages per intended runtime hour, in the application’s narrative section.

• Takeaway #5: It is rare to be awarded funding the first time around, so persistence pays off! If you are declined by the NEH on your first grant attempt, get in touch with NEH again and try to learn what steps you can take to improve your application, and then make those changes the next time around.

For more details on NEH development and production funding for media projects, visit: https://www.neh.gov/divisions/public

The post Notes from Getting Real – Part 1: Applying to the National Endowment for the Humanities appeared first on LEF Foundation.

^{Lyda in the vault at DuArt}

Last week, LEF Executive Director Lyda Kuth visited DuArt, the film lab and post production house in NYC that has long been the go-to place for generations of American independent filmmakers.

DuArt’s vault contains thousands of film prints and negatives that were at risk of being lost when the company could no longer afford to store them.

Enter Sandra Schulberg, who founded IFP in 1970, and has now turned her attention to cataloging and preserving independent film.

DuArt’s archival crisis lit the fire for Sandra to launch IndieCollect in 2013, in an effort to rescue these prints and to continue building an independent archive and public index of American independent cinema. Lyda is a board member of IndieCollect and looks forward to reporting back on the work of the organization for the New England film community.

Learn more on the IndieCollect website and this New York Times article.

The post IndieCollect: Making Preservation a Priority appeared first on LEF Foundation.

Arts Residency Network / International

This set of international residency opportunities is provided by the Taiwan Ministry of Culture and includes a searchable map with an extensive list of opportunities on 6 of 7 continents, but with most in Asia, Europe, and North America.  

TransArtists

Offered as an artist service in conjunction with the DutchCulture office in Amsterdam, this set of international listings includes hundreds of filmmaker residency opportunities, with most taking  place in Europe. Search by country or discipline.

ResArtis

Also based in Amsterdam and otherwise known as the Worldwide Network of Artist Residencies, ResArtist is an international NGO that offers searchable listings of artist residency opportunities in over 70 countries, along with a list of residency funding sources by region. Listings can also be sorted by deadline date.

Alliance of Artists Communities

Listings of US-based residencies with new and established artist communities.  View opportunities with upcoming or ongoing deadlines or through the directory’s search function. If you’d like to learn more about AAC’s work in the US, their 2015 conference takes place in Providence, Rhode Island this October.

Residency Unlimited

Residency Unlimited is a Brooklyn-based organization that hosts its own artist residency program in addition to offering international listings of other residency opportunities. Search by country, discipline, and deadlined/ongoing applications or browse all opportunities with upcoming deadlines.

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Sign up for the LEF newsletter on our homepage to receive news about additional filmmaker opportunities including residencies, labs, workshops, festivals, and grants. The LEF newsletter is released bi-weekly on Thursdays. Happy summer, filmmakers!

The post Resources for Filmmaker Residencies appeared first on LEF Foundation.

^{Image: December 2013 LEF Moving Image Fund Grant Workshop}

Join the LEF Foundation team on December 9 for a grant workshop hosted by the Massachusetts College of Art and Design.   

The LEF Foundation funds the work of independent documentary film and video artists residing in New England, and works to broaden recognition and support for their films, both locally and nationally. Through its Moving Image Fund (MIF), LEF provides funding across all phases of production, supporting films from the early risk-taking stage through a project’s completion. Since its inception, MIF has supported over 300 films with approximately $4 million dollars in funding to New England-based filmmakers.

LEF Program Director Sara Archambault will conduct a grant workshop at MassArt on Tuesday, December 9 from 6:30PM to 8PM for potential Moving Image Fund Applicants. During the workshop, participants will:

•    learn about LEF’s basic guidelines and requirements
•    watch samples from recently funded LEF films
•    hear about LEF’s online submission process
•    enjoy some free snacks and conversation!

For more information about the LEF Foundation, please visit: www.lef-foundation.org

Workshop Details
Date: Tuesday, December 9 at 6:30PM
Venue: Massachusetts College of Art and Design, Kennedy Building 2F
Address:  621 Huntington Avenue, Boston, MA 02115
Directions: http://goo.gl/maps/PiiCj
Campus Map: http://goo.gl/tMSRXY

RSVP: Contact LEF Program Assistant Genevieve Carmel at gen@lef-foundation.org or 617-492-5333

The post LEF Moving Image Fund Grant Workshop in Boston, December 9 appeared first on LEF Foundation.

^{Image: THREE DAYS TO SEE by Garrett Zevgetis}

This November, LEF comes to Providence for a grant workshop designed for prospective applicants to the Moving Image Fund. LEF’s next Moving Image Fund deadline is January 23.

The LEF Foundation funds the work of independent documentary film and video artists residing in New England, and works to broaden recognition and support for their films, both locally and nationally. Through its Moving Image Fund (MIF), LEF provides funding across all phases of production, supporting films from the early risk-taking stage through a project’s completion. Since its inception, MIF has supported over 300 films with approximately $4 million dollars in funding to New England-based filmmakers.

LEF Program Director Sara Archambault will conduct a grant workshop on Friday, November 14 at 1PM for potential Moving Image Fund Applicants. During the workshop, participants will:

• learn about LEF’s basic guidelines and requirements
• watch samples from recently funded LEF films
• hear about LEF’s online submission process
• enjoy some free snacks and conversation!

For more information about the LEF Foundation, please visit: www.lef-foundation.org

Workshop Details
Date: Friday, November 14 at 1PM
Location: Providence
Address: Provided upon RSVP

RSVP: Contact LEF Program Assistant Genevieve Carmel at gen@lef-foundation.org or 617-492-5333

The post LEF Moving Image Fund Grant Workshop in Providence, November 14 appeared first on LEF Foundation.

^{Participants at the Massachusetts Media Expo. Photo courtesy of Massachusetts Production Coalition}

A few weeks ago, LEF Program Assistant Gen Carmel sat down with David Hartman, Program Director of the Massachusetts Production Coalition (MPC), who shared details on the unique opportunities for Bay State filmmakers that have appeared since the MPC was created in 2005. The coalition works as an advocate to promote film and media production in the state, and as a platform for professional development.

How did the Massachusetts Production Coalition come about?

The MPC was formed in 2005 as a convergence of a couple groups that organized within different sectors of the industry.  MPC became the place where those groups came together to create a broad representation from pretty much every aspect of film and media production.  As far as I am aware, it is unique among other states for the level of collaboration that exists here.

Who does the MPC serve?

We are a really big tent, and serve everyone working in or touched by film, television, or commercial production in all of its forms.  In terms of our programming we strive to create opportunities and do things that appeal to the greater ecology of film and media enterprise. That’s definitely a challenge sometimes. We produce quarterly industry meetings, six seminars or workshop events, an annual expo, and some other one-off kinds of events within a single year. Between all of that you work to find places to be relevant to the interests of everyone.

What’s been the MPC’s greatest accomplishment to date?

Functioning as an industry representative to have the state’s film tax incentive legislation passed and remain effective is an achievement a lot of people associate the organization with. It was a cause that everyone in the field was able to get behind and unify to work towards. That program is in many ways the most essential piece of what has really made Massachusetts a competitive place to do business and sustain a career in the industry.

How does the MPC advocate for the film and media industry in Massachusetts? 

Over the years, MPC has worked with numerous industry groups and institutions to produce reports and consistent communications that describe the kind of economic activity film and media production contributes to the state, and where it can grow. Informing our representatives of our industry’s impact and the unique qualities it offers is an ongoing process.  So there’s a constant regeneration of data and information that we need to synthesize to create a snapshot of how things are working, and where they can grow.  Also promoting Massachusetts as a place to do business and where our industry thrives enriches the cultural life of the state.

How do filmmakers benefit from the tax incentive?

For filmmakers and producers, one of the strongest qualities of our state’s program is that is has a very accessible threshold for a project to become eligible for an incentive, so the entry point based a project’s budget or spending is very reasonable.  This makes it much more feasible to consider producing here as an independent filmmaker.

What do the MPC meetings attempt to do?

Our quarterly meetings create opportunities for members of the industry to connect and be informed. About 200 individuals attend each meeting. Networking is in many ways a function that MPC meetings serve best, and creating a place for the kind of interaction that happens at our events is really unique. We do four member meetings per year at different venues, whether it’s a location in town that’s supporting the film industry, a theatre or hotel; or company headquarters or studio.

The format is pretty consistent: we’ll have an hour and a half cocktail reception, so as people are leaving work they can filter in, then we do an hour and a half of presentations, which are diverse – it could be a topic that relates to a trend in the industry, locally produced projects, or a business or new product that we want to feature. We try doing themes from time to time, but it seems to attract a more diverse audience and the kind of interaction we hope to facilitate if we are open-minded and flexible.

The MPC also organizes the Massachusetts Media Expo. Could you tell me more?

The Media Expo is a really unique program, and last year’s event at WGBH was the first year we produced this. The Expo, like many of our programs, is supported by the Massachusetts Cultural Council, and that support has helped make the level of programming we are doing truly possible.

The Expo started out as an idea for creating a really large annual event that brought everyone together into the same space for a day – and the first year was kind of an experiment. There wasn’t really a precedent for having a large-scale trade show here of any kind for our industry, but thankfully everyone participated and we were fortunate to have over 50 film and media entities get involved as exhibitors. It was pretty remarkable. We had numerous programs throughout the day – a keynote panel of renowned producers, a couple of panels on different topics; one with a terrific independent filmmaker, another with local casting agencies, and then we had a really unique film premiere and panel at night. It was attended by over 600 individuals over the course of the entire day.

What does the MPC seminar series offer for participants?

The seminar series is a strong professional development series and is evolving – the first year we tackled production from beginning to end, so we had six throughout the year, and each one guided people through a different phase of production with a panel of creators from different genres of film and media making.

Last year we made it more topical to address themes that people wanted to explore further. From a distribution angle for example, people really wanted to talk about social media and how to self-market their work and themselves, so we focused solely on that for one seminar, and branded entertainment for another. We did a seminar on composition, because people were really interested in exploring audio further – so we had a panel of really great composers, like John Kusiak for example, who does terrific work in both documentary and commercial productions.

This year we’re broadening the scope of what we do with the seminars and some are more workforce development focused. We did one in April on camera dynamics and expanded it into a half-day event with both aesthetic and technical components. For that seminar, there was a really good panel of cinematographers and DPs that explored camera movement in their work and the kinds of tools that they use to create a shot through movement, and we were fortunate to have a lot of gear and equipment for hands-on demonstrations with the experts from High Output and Rule Boston Camera.

We’re also beginning a program that hasn’t been done here in a while which is a Production Assistant (PA) training program, so it will be a real primer on how to begin working on feature film and commercial productions.

How can local freelancers tap into new Hollywood opportunities in the state?

In many respects it really is still a word of mouth industry – you find the people who are working in the areas you want to be involved in and you just keep talking to them until you find a place in it. There is a service called Central Booking that books for crews, but generally speaking its still very much a person to person field, and you have to be very proactive – you have to find the people you want to work with, and that’s one of the things MPC does really well – we’re inclusive, so if people are starting out, coming to our events is a great way to make connections with the people you want to reach.

Do you have any thoughts for documentary filmmakers in particular?

I think the interests of independent filmmakers align really well with the greater business community we see growing here because independent filmmakers are essentially entrepreneurs – they have to be. Whether you look at each film that they do as a business in itself or the collective production that they do, they have every reason to be involved with a creative and business community that supports it.  Through MPC we’ve seen a number of independent documentary filmmakers connect with different resources and businesses, whether it’s for feedback on something or connecting with people about getting involved in a project. A lot of businesses will make their services as accessible as possible for producers to get their projects made – they want to see good work happen, and they want to see it come from here.

What are the benefits of MPC membership?

It’s two things essentially – it’s an opportunity to be part of the community by having a point of contact with people and a place to connect with people from every aspect of the industry, and it’s supporting the initiatives that MPC develops to keep the industry growing here.

What’s in store for this year at the MPC?

Our seminars started up recently – we have a PA Workshop on May 10th, and then another seminar in June on the business of freelancing as a career. For that one, we’ll bring a lot of terrific people together to discuss how they navigate in a freelance workforce. Then we’ll have the Expo and more seminars in the fall. Our next MPC Meeting is on May 19th at Red Sky Studios in Boston.  We have two more of those to look forward to this year, so I think I’ve got my work cut out for me. Connecting people – and helping them find opportunities, that’s really half of the job.

For more information about MPC programming and membership levels, please visit massprodcoalition.org.

The post In Discussion with the Massachusetts Production Coalition appeared first on LEF Foundation.

^{Still from the LEF-funded film The Cooperators, by Sarah Colt}

The goal of the LEF Foundation’s New England office is to fund the work of independent documentary film and video artists in the region, and to broaden recognition and support for their work, both locally and nationally. Through its Moving Image Fund (MIF), LEF provides funding across all phases of production, supporting films from the early risk-taking stage through a project’s completion. Since its inception, MIF has supported over 200 films with approximately $3.5 million dollars in funding to New England-based filmmakers.

LEF Program Director Sara Archambault will conduct a grant workshop at MassArt on Wednesday, December 11 at 6:30PM for potential Moving Image Fund Applicants. During the workshop, participants will:

• learn about LEF’s basic guidelines and requirements
• watch samples from recently funded LEF films
• hear about LEF’s new online submission process
• enjoy some free snacks and conversation!

^{Still from the LEF-funded film The Genius of Marian, by Banker White and Anna Fitch}

Workshop Details
Date: Wednesday, December 11 at 6:30PM
Venue: Massachusetts College of Art and Design, Kennedy Building 2F
Address:  621 Huntington Avenue, Boston, MA 02115
Directions: http://goo.gl/maps/PiiCj
Campus Map: http://goo.gl/tMSRXY

Parking: http://goo.gl/zvf9sF

To RSVP, please contact LEF Program Assistant Genevieve Carmel at gen@lef-foundation.org or 617-492-5333. See the event’s Facebook page to see who else is attending, and invite your friends!

The post LEF Moving Image Fund Grant Workshop in Boston, December 11 appeared first on LEF Foundation.

Join the LEF Foundation team on October 15 for a free grant workshop hosted by the Main Street Museum in White River Junction, Vermont. This event is co-sponsored by White River Indie Films.

Still from LEF-funded film At the Edge of the Sea, by NH-based filmmaker Cozette Russell

• learn about LEF’s basic guidelines and requirements
• watch samples from recently funded LEF films
• hear about LEF’s new online submission process
• enjoy some free snacks and conversation!

Still from LEF-funded film The Guys Next Door, by Allie Humenuk and Amy Geller

Date: Tuesday, October 15 at 6:00PM

Venue: Main Street Museum, http://www.mainstreetmuseum.org

Address: 58 Bridge Street, #6, White River Junction, VT 05001-7040

Map/Directions: http://goo.gl/maps/k0owT

RSVP: Contact LEF Program Assistant Genevieve Carmel at gen@lef-foundation.org or 617-492-5333

The post LEF Moving Image Fund Grant Workshop in Vermont, October 15 appeared first on LEF Foundation.

This summer, in addition to receiving a grant from the Sundance Doc Fund, STREET FIGHTING MAN director Andrew James and editor Jason Tippet attended the Story & Edit Lab. That Lab was focused exclusively on the form, structure, and evolving narrative of the story. (Special shout-out to our other producer Katie Tibaldi who is in the field in Detroit with Andrew right now as I type, gathering the last footage we need to finish the film; much of it we determined we needed at the Lab!). The role of a Story Lab seems quite clear. But what does one learn at a “Creative Producing Lab”? I had my own expectations and lucky for me they were exceeded at every turn.

The Creative Producing Lab was an intensive 5-day series of workshops, meetings, and what I can only call “industry demystifications” focused on the art of producing a successful independent film. On the documentary side of the mountain, there were 7 fellows representing 5 films, a small cadre of mentors and the peerless Sundance staff lead by the indefatigable and inspirational Cara Mertes overseeing her last lab before shoving off to run the Just Films Initiative at the Ford Foundation. Through intimate and honest (sometimes painfully so) conversations with mentors and staff, we fellows strengthened our core knowledge about the multiple skill sets required of producers. To name just a few: financing, messaging, grant writing, festival strategy, contracts, budgets, distribution, publicity, team building, people managing, outreach dreaming, pitching and, of course, at the very core of it all – the instincts to know what makes a story work best.

In addition to understanding the demands of our chosen profession more vividly, we also had the benefit of project-specific feedback through sessions like a rough cut screening of your work in progress. For me, it was the first time I had shared footage from the film with anyone outside of our own team – I felt weirdly exposed, but it was a fantastic opportunity to talk through the challenges that lie ahead for us in completing the project with a group of experienced professionals who only want to see us succeed. There were also one-on-one meetings arranged with mentors, where each fellow received direct feedback on strategies to improve and gain traction for the project.

The Summit was a very different, but equally valuable experience. A departure from the intimate tone of the lab, the Summit still maintained a “summer camp” feeling of camaraderie. The Summit brought a total of 42 projects, both narrative and documentary, to discuss the state of the field, strengthen their producing chops, and pitch their films to industry leaders. These were meetings you would need a major market to get otherwise, creating great exposure for this group of films already blessed by the Sundance seal of approval.

But apart from all of the skills-building and networking, a crucial piece to this weekend was an examination of the role a producer plays on a project, a celebration of the creativity required of producers, and a call to seed the field with more able talent.

One plenary session, in particular, called on all of us – industry leaders, fellows, and Summit attendees, to name the one word we most associate with producing and why. Here are some thoughts from that group sharing (this was not around a campfire, but it could have been) that resonated with me:

• CONNECT – Producers fill the tent. They bring creative teams, business interests and eager audiences together. They make sure all the skills, knowledge and tools necessary for a successful project are assembled in service of the director’s vision.

• FAIL – Don’t be afraid to fail! Every failure you experience is another arrow in your quiver, and could be crucial to the success of your next film.

• DO – When in doubt, act. There are countless moments of fear, anxiety, and stress in the creation of a film. Producers motivate and move forward. Inaction is their enemy. Gather the intelligence, trust your gut, and jump!

• INNOVATE – The film industry is changing faster than we can easily assess it. This is a time to try new things. The opportunities for getting your film in front of new audiences have never been more plentiful. Forge your own path.

• IMPROVISE – You won’t always have the answers, so be sure to trust your instincts. Every new challenge is a creative opportunity for problem-solving.

• INSPIRE – Your team doesn’t just rely on you as a task-master and traction-maker, sometimes they need a cheerleader. These projects can often take a long time and encounter massive roadblocks along the way. A producer needs to keep the team together, protect the creative space, and help the team achieve their best potential.

• MAKE IT RAIN (okay, not one word) – The producer is often the engine that makes a production go. The rain could be money, talent, or connections, but rain it must!

This is just a small snapshot from that one unforgettable week in the Wasatch Mountains. One of the most powerful takeaways for me was feeling the true power of effective mentorship. I know that I have taken it to heart and hope to provide that same level of open, caring guidance to others along the way. In that spirit, thank you to the generous mentors: Julie Goldman (producer), Bonni Cohen (filmmaker), Josh Braun (sales agent), and David Magdael (publicist). Your gifts continue to give!

Thank you to my fearless peers: Rachel Learns and Robin Blotnick (The Hand That Feeds – http://thehandthatfeedsfilm.com/), Hillevi Loven and Chris Talbot (Radical Love – https://www.facebook.com/RadicalLoveTheFilm), Chai Vasarhelyi (An African Spring – https://goodpitch.org/films/an-african-spring), and Carola Fuentes (Chicago Boys – http://chicagoboys.cl/?page_id=19). I already miss you and will be cheering you on!

Thank you to the Sundance Institute and its incredible staff from Executive Director Keri Putnam to all the drivers and chefs.

And finally, thank you to the Sundance Doc Fund staff – Cara Mertes, Rhadi Taylor, Kristin Feeley, Richard Perez, Bruni Burres, Wendy Levy, Hajnal Molnar-Szakacs, Jean Shin, Velissa Robinson and John Cardellino – you have changed our film and changed my life, and I am eternally grateful.

The post The Sundance Creative Producing Lab & Summit and The Power of Mentorship appeared first on LEF Foundation.

Selected filmmakers will pitch their ideas on stage at the Points North Documentary Forum, taking place September 26-29, 2013. The filmmaker with the winning pitch will have an opportunity to produce an Op-Doc for The New York Times with a budget of $2,000 (USD). Subject to The New York Times’ approval, the documentary will premiere on NYTimes.com. For more information, visit: http://camdenfilmfest.org/pointsnorth.

The post Just one week left to send in ideas for Op-Docs! appeared first on LEF Foundation.