Reading Response 9/30

From the readings on event budgeting and management, in relation to Visions, I came away feeling very positive about where we are presently as a class and what the future holds. This is mostly due to the detailed budget plan we currently have, as well as the research we have already completed--it relates directly to most of the points made in the event management article. It important to note though, despite the good spirits and excitement that we should be feeling as a class at this point, it can be very easy to stray off course if we do not continue to keep our mission in mind. At this point we are beginning to split off into our departmental groups, accomplishing specific tasks different from the rest of the class. This could be seen as an opportunity for communication loss or loosing site of the bigger picture, so it is extremely important for all of us to stay focused on our personal responsibilities, but keep in mind how each relates to the whole. Also concerning the event management tips, I believe that this list could be used as a consistent checklist or outline in Visions for years to come--the language is almost geared for a film festival. The last tip, to me seems most resounding--the creation of back-up plans for possible problems during the event. Once everything is set in place for the event, and a run-through has taken place, I believe we should dedicate efficient time for an "emergency response plan" session, as the article states. Something will undoubtedly go wrong during the event, some without a solution, so we should be prepared at least for the problems that we can solve, or even prevent.  

Visions Week 9/22-9/28

This has been a very productive week as far as departmental week goes. At the start of the week, the Art, PR, and Social Media departments held a short meeting outlining our various tasks and goals for the week. Soon after, my short "WE'RE BACK!" blurb was posted to the website, and Nico, Matt G, and myself met to put together a rough mission statement based on the adjectives our class came up with. The meeting went very well, and we were able to post the statement to Visions' Google document page early Friday morning. My next mission is to develop the call for entries PR statement by next week. Additionally of Friday, the PR, Social Media, and Art department met again in a follow up meeting to see progress. Kyle presented a few great sketches/possible looks for Visions, Maddie gave us an update on the social media page (including the upcoming Orange Leaf fundraiser). Matt H. was not able to make it in person to the interview, but we were able to Skype with him throughout the entire meeting, and this worked out quite well. 

My Interview With Barbara Morgan

1. How many entries did they get this year? For films make sure to ask them to distinguish between features and shorts.

A.     They received over 3,500 film entries, but she could not go into specifics about features/shorts or how many screenplays were received. I am awaiting an email from her or one of her staff members regarding exact numbers. She also could not go into detail about the pre-screening and scoring process for film entries. She advised me to email her those series of questions and I am awaiting her response. 

2. How many films do they aim to screen each year? How many papers/presentations do they accept? Again, for films make sure to ask them to distinguish between features and shorts.

A.      They aim to screen around 180 films and consider every screenplay/teleplay entry (based first on formatting and other criteria). Out of those 180, there are usually around 80 features screened.

3, 4, & 5. What is their pre-screening process?

A.      For screenplays/teleplays: Each year, Austin Film Festival assembles a panel of influential industry judges to read and determine the Semifinalists, Finalists, and winners of this year’s competition. The list of 2013 judges can be seen via the link: http://www.austinfilmfestival.com/submit/screenplayandteleplay/judges/

 6. How do they score entries? Do they use a scoring template/rubric? Are there scoring 

guidelines?

 7. Do you have a jury after the pre-screening process has ended?

A.      Yes, there is a separate jury to score the films up for competition. They consist of established members of the film industry.  

8. How far in advance do they send out their call for entries? How do entries typically roll in? Early? Late? In waves?

A.      An announcement from Bears Fonte was made on the last day of the festival in 2012. They do not waste any time and entries usually pick up later in the year, but seem to come in waves early or late. 

9. How many paid employees do they have each year? How many volunteers?

A.     The Austin Film/Screenplay Festival and Conference employs 11 people full-time and contract 10 employees for the week-long event. They contract about 30 people for year-round events, such as their television show and local screening events. (ex. Made in Texas Family Series; An Evening of Texas Shorts)
 

10. Do you use specific programming, trafficking, budgeting software? Do you like it?

A.     No, they do not use any budgeting software or specific program.

11. What community outreach do you do outside of your festival season to keep your event on the public's radar and/or to raise funds? (Workshops, mini-festivals, fundraiser dinners, etc.)

 A.     They hold some kind of event (screening, fundraiser) about every 10 days throughout the year. They have a strong youth program, and their television show is aired on 140 PBS stations. In addition, they keep strong relationships with local museums, the ballet, schools, and Goodwill. They also have a community partnership with the American Institute of Architects.

 12. Do you give out swag bags to visiting filmmakers? Presenters? Guests? If so, what type of items do you include in those bags?

A.      All people who attend get some kind of a gift bag (sponsors bag depending on the level of sponsorship). There is a VIP bag also given to special guests (celebrities, distinguished filmmakers/writers), along with gift baskets for those special guests. The bags/baskets contain mostly food and drink--mostly because there is little time for leisure activities during the festival (massage coupons, ext.). So most gifts pertain directly to the festival.  

13. Do presenter/filmmaker pay registration to attend?

A.     Each filmmaker/presenter gets their choice of 2 free badges, plus 10 tickets in all for family, friends, or colleagues. The number of tickets (10) never changes, even if the person has more than one entry in the festival. It is free for finalist screenwriters to attend, and semi-finalists receive the option to purchase a discounted badge.     

14. Are you able to provide presenters/filmmakers with funds to cover travel or lodging?

A.     Honorable guests get discounts and free travel/lodging, otherwise they usually will not make the trip. Other filmmakers/writers/guests usually have to pay for themselves. 

15. What "perks" do your filmmakers/scholars enjoy at your festival/conference? What else do you encourage them to do while they're in town? (Free dinners, tours, exclusive activities...in Wilm, we'd try to take them to the beach, Screen Gems tour, etc.)

A.    Perks would include everything that is included in their badge purchase, which they get a choice of. This includes gaining access to all parties/events as well as panels/screenings. 

16. Do you have special donor perks during the event? Or how do you thank them?

A.     All "perks" are included in their sponsorship package, and vary depending on the amount of the donation. 

17 & 18. What do they wish they had done differently or better when they were first starting out? What do you wish you knew then that you know now?

A.     She says that she would have dedicated so much more time to coming up with a concrete funding/budgeting plan. She also advised our festival to have a set plan for fundraising, and never get into the habit of being "hopeful" about funds or budgeting. She actually advised that we should not set ourselves up like a typical non-profit organization with that kind of hopeful mindset. We should spend lots of time and effort on the budget. A great soundbite from her was "ticket sales do not justify your existence." Another great piece of advice was for us to always take into account the amount of man hours each task will take, and the people who may be "flaky" in attempts to complete a task in the easiest way possible. Lastly, have a sort of "bravado" about your festivals mission, and use that bravado for all fundraising and public relation endeavors. 

Quiz

1. When comparing the research of each film festival, I found that most entry fees/deadlines correlating with each other. However, there were a few instances where the entry fee increased or decreased depending on whether the film was a short or feature length. I also found that most of the festivals had at least SOME kind of category for student filmmakers, or at least a  section of the festival geared toward young filmmakers, even as young as nine. Another interesting facet was the incentives for local/regional filmmakers or filmmakers within the state, whether it a discounted or non-existent fee. Indie Grit even limits their programming to films produced by filmmakers who live or have ties to the southeast.

2.  Sponsor ideas ranged from Fuzzy Peach to larger sponsors such as PBS--Christian gave great feedback ideas in his research of the True/False Festival. I also gave some feedback based on the Austin Film Festival, as I noticed they have many local radio stations/state organizations as sponsors.

Time Managment

This IS my weak spot if anything (as you can tell from these deep into the night blog entries). You get to a point where you think you are able to breath, relax, take it easy...you look up from your stupor, and the assignment is due tomorrow, in one hour, or already late. It can happen to the best of us if we do not stay on a balanced schedule that you can easily follow--one that allows for plenty of time to complete required work, and that sets available time aside for relaxation. You time! We all wish we had more of it, but the work has to be done. Lynda.com outlines key aspects of time management, going into detail concerning three aspects--managing your space, mind, and time. This is one of the busiest semesters I have ever had in college, with more deadlines to keep up than ever--and colleagues/professors relying on those deadlines. This tutorial, and applying it to Visions will only make this experience more fun and exciting in the long run--not bogged down, stressed, and always feeling rushed. I need to take these steps now in order to be my most productive self, and make my most productive self...my only self.

Austin Film Festival Research

1. What time is your interview scheduled and who will you be talking with when you call/skype?

I have a phone interview with Director Barbara Morgan on Thursday, September 19^th at 8am.

2. Who started it and who runs it?

Barbara Morgan co-founded Austin Film Festival in 1993 with Marsha Milam and has served as the sole Executive Director since 1999. This October will mark its 20^th anniversary. Nick Westfall is a co-director.

3. What is the mission of the festival/conference? (copy and paste the first paragraph)

Austin Film Festival furthers the art and craft of filmmaking by inspiring and championing the work of screenwriters, filmmakers, and all artists who use the language of film to tell a story.

Austin Film Festival recognizes the writer as the heart of the creative process of filmmaking and strives to uncover outstanding, emerging filmmakers; serve as a creative catalyst for legendary, contemporary and rising talent; foster their development through panels, workshops and master classes conducted by professionals; recognize, encourage, and challenge the skills of these new filmmakers and provide outreach opportunities to writers and filmmakers.

4.

How does this compare with their actual programming choices from the past two years? Be specific in describing what they program (mode, categories within mode, niche, Political? Global? Local? Gender? Sexuality? Race? Any themes that you see? Etc...)

The main goal of AFF is to champion the process of story telling, on the page or on the screen. The categories include narrative and documentary, feature-length or short, student shorts, and animated short. From the actual program, I can see that the mission statement does hold true, specifically its mission to provide outreach for young filmmakers. The student short category, the discounted student badge, and the summer film camp (ages 9-18) can be viewed as hard evidence. Also, the decision to include awards for the horror/sci-fi genre, the 60+ minute film, and screenplays/teleplays shows their dedication to every method of visual/written storytelling.

5. Where is the event?

1801 Salina St. Austin, TX 78702

6. When is the event? (Give dates from last year if not current)

October 24^th- 31^st

7. How do you submit? Snail mail, online, withoutabox, through their site, etc...

You are able to submit a film/screenplay/teleplay through their website (online entry), mail submission, or through withoutabox. Submit a teleplay or screenplay by mail with required submission forms, fees, and other materials.

8. When are the deadlines to enter? Early? Reg? Late?

Film: Early Bird Deadline – May 1^st ($50 fee)

Regular Deadline – June 15^th ($60 fee)

Late Deadline – July 15^th ($75 fee)

Screenplay: Deadline – May 1^st ($40 fee)

Late Deadline – June 1^st ($50 fee)

Teleplays: Deadline – June 1^st ($30 fee)

-They do not waive entry fees!

10. Who’s eligible, what are the guidelines to enter?

Films:

Films must have been completed after April 1, 2012. Narrative and Documentary films with U.S. distribution (obtained prior to being selected for AFF screening) or films produced, financed or initiated by a major film studio or television network are ineligible for competition, but may be considered for a special screening. Films that have been screened in any major theater or television network prior to festival dates are also ineligible. Feature-length narratives must be 41 minutes or longer. Narrative shorts must be 40 minutes or less. Animated shorts must be 40 minutes or less (any form of animation). Documentary feature-lengths must be 41 minutes or longer, short documentaries, 40 minutes or less. Dark Matter entries should be a feature-length narrative, 60 minutes or longer. These entries must also be part of the horror genre or a particularly dark suspense, thriller or sci-fi film. All of the categories above are open to anyone who wishes to enter.

Screenplays & Teleplays:

The Screenplay Competition is only open to writers who do not earn a living writing for film or television. Screenplays/Teleplays must not have been optioned or sold prior to October 26, 2013. Screenplays/Teleplays must be the original work of the applicants. If based upon another’s life story, applicant(s) must attach a statement attesting to their rights to make such adaptations. Neither the Festival nor its jurists investigates or attests to the authenticity of an applicant’s statement of authorship or rights. Screenplays/Teleplays that have previously reached the Semifinalist level and beyond are not eligible for resubmission. If a submission involves two or more writers as applicants, the award will be divided equally among them. Applicants may submit more than one screenplay/teleplay in any chosen category. Each entry requires an application, payment and script (excluding the Enderby Entertainment Award and Sci-Fi Award – no additional script will be required for those). No Refunds for any payment! No revisions or missing pages will be accepted once entry has been received.

Award Rules for Screenplay/Teleplays:

Entry fee and entry forms are required for each submission. No photocopies of signatures!Make checks or money orders payable to “Austin Film Festival.” Only US money orders will be accepted. Online submissions will require an additional $5 processing fee per entry.

Example: If you are entering your script into both Comedy and Drama categories please include two copies of your script along with two entry fees and two completed entry forms.

Enderby Entertainment, Horror, and Sci-Fi awards—Screenplays must be entered in either Drama or Comedy categories for consideration. You must indicate submission on your entry form. An additional $20 entry fee is required for EACH submission.

Teleplay Awards:

Open to all writers on all levels. The Teleplay Competition welcomes spec scripts for any currently airing network or cable program AND original pilot scripts. Spec scripts for programs canceled prior to the current television season will be disqualified and no refund will be provided. No bibles, treatments, or reality show formats will be accepted for the teleplay competition. Submissions must be accompanied by a $30 submission fee PER ENTRY and a completed entry form including authors’ original signatures.

Formatting Guidelines:

Screenplays/Teleplays should be formatted according to current industry standards. Font size must be 12 point and in Courier type. Screenplays must be narrative feature length (approximately 90-120 pages). Teleplays should be the appropriate length depending on the format (approximately 22-40 pages for sitcoms and 45-70 pages for one-hour shows). Pages must be numbered in the top right hand corner.

Submission by Mail:

Pages should be two or three hole punched, bound between card stock covers and fastened by two or three metal brads. Pages may be double sided. Only the TITLE of the screenplay should appear on the front stock cover (written or typed). A second title page with all contact information (TITLE, AUTHOR, AUTHOR’S ADDRESS, PHONE NUMBER, E-MAIL ADDRESS, and a BRIEF SYNOPSIS) should be included but kept separate from the script. The author’s name must not appear elsewhere in the script in order to preserve anonymity in judging process.

Online Submission:

Scripts must be in PDF format under 5MB. Only the TITLE of the screenplay should appear on the front cover page.

*A second title page with contact information is not required for online submissions

The author’s name must not appear anywhere in the script in order to preserve anonymity in the judging process. NO REVISIONS OR MISSING PAGES WILL BE ACCEPTED ONCE ENTRY HAS BEEN RECEIVED. Online submissions will receive a conformation email.

Other Notes: Screenplays/Teleplays will not be returned at all. Notification letter will be send by postal mail by August 31. Semifinalists will be contacted by phone around this time.

*Feedback will only be provided to writers who advance to the Second Round of judging or higher.

11. Is there a Student category?

There is a student shorts category. Films must be short narratives of 40 minutes or less. This category is only open to students. The film must be the work of a current student or completed during the time the filmmaker was a student.

12. What formats do they except for jurying? DVD, Vimeo, Flash drives?

You will be able to submit either a DVD copy (please double check to be sure that it works and that it is formatted as a DVD that plays on DVD players, not a data disk) or as an online screener (through Withoutabox.com). *Must be FlashVideo or quicktime, under 2GB. They cannot accept Blu-Ray, Beta, HD-Cam, Mini-DV or anything that cannot be played on a standard DVD player.

13. What formats do they except for exhibition/screening?

N/A

14. How many films screened at the festival last year?

About 180 films.

15. How long is a typical shorts block or paper presentation block at their event?

Blocks usually last 70-100 minutes.

16. How many films or papers do they program per block?

Most film/paper blocks include 5-9 entries, but can include more or less based on the time above.

17. How do people register to attend? Is there a cost to attend as a guest?

Film pass for 8 days of screenings--$50. There is a choice of 4 different badges, the Lonestar Badge ($100), Weekend Badge ($250), Conference Badge ($400), and Producers Badge ($625).

There is also a 20^th anniversary package this year ($1500).

$195 Student Conference Badge—Must be enrolled in at least 9 credit hours in high school/college.

18. Look at sponsorship page and see what businesses. Grants and private entities give money to the event. Figure out how many of each kind and note any leads that might be useful to us.

2013 Sponsors: Stars Digital Media, Writers Guild of America West & East, Invodo, John Paul and Eloise DeJoria, Stella Artois, Chipotle Mexican Grill, Topo Chico, The Salt Lick, The Naked Grape, Barefoot Wine & Bubbly, Texas Film Commission, Austin Film Commission, KUT 90.5 FM, Shweiki Media, KVUE Austin (ABC), Prarie Vodka, Bullock Texas State History Museum, Southwest Airlines, Galaxy Theaters, The Academy of Motion Picture Arts and Sciences, Texas Commission of the Arts, Alice Kleberg Reynolds Foundation, City of Austin Cultural Arts Division.

There are many local news/radio stations, as well as sponsorship from state organizations. Maybe we should look into this?

19. What are their sponsorship levels and incentives for each level?

Incentives include opportunities for marketing and product placement, including:

(Range from $500-$10,000)

Weekly AFF Newsletters, AFF Website, Badges, Registrant Gift Bags, Commemorative Program Books, Film Pocket Guide, AFF Exhibit Hall, Festival Trailer/Banners, Paramount Theater, AFF Parties, Film Showcase, Audience Awards, Awards Luncheon, Film and Food, & Film and Screenplay Competition.

*Contact Allison Frady for sponsorship opportunities

20. Did they have a kickstarter or indiegogo? What incentives did they have for each level of donor?

Did not have a kickstarter or indiegogo.

21. What kind of non-traditional film/video events have they had before? Things like Installations,

'Visual Soundwalls,' VJing etc.

N/A

22.Are there ways in which they have expanded the typical film screening event? How have they branched out from sitting in a dark room in front of a screen? Our website is our virtual face. Every day our site has incoming traffic, nationally and Internationally. It's important that visitors are able to find the information that they need without being sent on a wild goose chase through our pages. We want visiting our site to be easy and painless, and for our visitors to have as good of an experience virtually as they would actually attending the event. Our goal is for the Visions site to be easy to navigate, to be aesthetically pleasing, and to easily the information our audience is looking for without overwhelming them. The following exercise will help you see how important all of these things are to a first time (and hopefully a future repeat) visiting our site.

Answer the following questions about your experience with your assigned festival’s/conference’s website:

23. Is the layout easy to navigate? What makes it easy?

Yes, I would say that AFF's website is one of the most organized websites that I have visited with hopes of research. Most current/updated news about the conference, and more specific information concerning the Festival and Conference is located just below. Also, there is a very specific site map located at the bottom of the home page. Since this is a film/screenplay/teleplay competition, and there are specific guidelines for each submission, it would be very easy for disorganization and confusing clutter. However, the site has very specific tabs for each category, along with blocks above for submission, rules, FAQ, and awards. The use of FAQ was also very beneficial in my navigation. The tabs in the upper right were very simple, dividing the website for its possible visitors-- 1.Attend 2. Festival and Conference, 3. Submit, 4. News, & 5. Events. The site map at the bottom of the page made it easier for me to specifically locate contacts/staff, sponsorship info, and historical information about the festival and conference.

24. Is the layout difficult to navigate? What makes it difficult?

Not difficult at all! I would recommend this kind of setup for a festival site. The information of past conference’s/awards was also very accessible.

25. Can you find the information you are looking for on the homepage or via a link on the homepage?

Yes, either on the homepage or via link.

26. Aesthetically, what catches your eye? What's cool about it?

I enjoyed the photographs from past conference’s—it wasn't TOO much to make the pages cluttered, but enough of statement to show the success and reputation of the festival. Also, the quotes from previous filmmakers, writers aided the website in this respect. The different colors used for the various tabs also stood out visually.

27. Aesthetically, what doesn't fit in? What makes it look bad?

There is a lot of white on each page of the website. Maybe a different base color choice? Something a little easier on the eyes.

28. Should there be more information? Is the page too bare?

The page isn't bare at all.

29. Should there be less information? Is the page too busy?

With a festival like this, you need to have all of the information available in the most organized way. Most information is kept within the tabs, which helps in organization and fighting busy-ness.

30. What would you do differently if you were to redesign this website?

I would include a tab or link on the main page for past schedules/programs and award winners (to find programming notes and previous entries).I was able to find this information, but after a bit of digging.

31. What would you keep the same if you were to redesign this website?

I would keep most of the organization exactly the same. I would change some of the coloring for aesthetic purposes. I would also include a photo-gallery from previous years and the Festival’s Mission statement on the main page. I did have to search for the mission statement as well.

Public Speaking

I don't consider myself a very shy person--but according to a few classmates and friends, I am. I believe that it stems from my relationship to the people I am usually presenting to, or simply having a conversation with. Those are two very different mediums, and presenting in front of a crowd that I am not necessarily familiar with has always been my downfall, as I'm sure it is with most students or fellow colleagues. Part of my growth in this specific area, has been aided by the tools provided by the lynda.com tutorials. I realize that utilizing the tools that are outlined, such as eliminating my crutch words (um, uh..), developing a strong opening and closing, and other aspects of delivery will beneficial for my communication skills overall, especially when presenting material relating to Visions. My groups presentation on Prezi went very well I believe, however there were a few technical difficulties throughout. Luckily I had my own script, but this was a part of the video tutorial, and the tips of over-preparation, knowing the material cold without visual aids, and getting an audience involved during a technical problem, will be on my mind for the next presentation. You never know what will go wrong in the edit lab! 

Reading Response

While reading through both assigned articles, it became clear to me of what purpose film festivals serve, or should serve rather, to a community. I refrain from using the term "artistic community" for reasons of artistic exclusion--which is exactly what film festivals should serve to tirelessly fight against. I believe that in popular cinema's present situation, with mind numbing budgets, huge marketing plans, and a star system that never quits, film festivals seem to be the only outlet for filmmakers who are attempting to show their work for larger venues--to an unbiased audience that has a chance to critique and ask questions. In return, filmmakers are given a prime opportunity to network, and a community is given an opportunity to flourish in a form of art and entertainment that they would never be able to experience at the local multiplex. It is widely accepted that film is always in a progression, whether from a technological, cultural, or ideological standing. With this in mind, as well as what is referred to as 'popular cinema,' it may be concluded that films screened at film festivals are the first small tastes of new cinematic tendencies, and serve as an outlet for risk taking and exploration that a multi-billion dollar industry might not see as a wise business decision. In relationship to Visions Film Festival and Conference, the idea of melding filmmakers and scholars and exposing them in the festival limelight so early in their careers is exciting and equally beneficial. Festivals are so important to films progress in general, and Visions is creating that serious opportunity for a younger filmmaker, while never forcing them to leave a learning environment, but challenging them nonetheless.

Hopes for Visions

I am in uncharted territory to say the least. After getting my toes wet as a volunteer for Visions Film Festival and Conference last year, it is time to dive in and become submerged in the world of organizing a successful, innovating, and creative year for Visions. Besides the obvious hope to sufficiently learn the processes and methods (good and bad) that are practiced when putting a festival together, I hope to learn and practice essential organization, communication, and leadership skills that are necessary for anyone to have, especially while in the workplace or when working as part of a group to achieve a primary goal(s). However, above all, my goal for Visions this year, that I hope is an overlying factor, is the ability for our staff to have an amazing time--even when tensions are high and challenges arise, the ability to rise and conquer as a group. If this can happen, which I am confident it will, everyone involved with Visions, from the staff and teachers to other students and the community, will have an equally profound and memorable experience. The inevitable conclusion will not be a conclusion at all, but a continuation of strengthening support for an ever evolving Visions Film Festival and Conference for years to come.

Bio

Steven Gamble is a senior at University of North Carolina Wilmington. He is scheduled to graduate in Spring 2014 with a Bachelor’s degree in Film Studies. Steven is also a former intern of Intellect Publishing Press, based in Bristol, UK, and now serves as one of the image editors for their academic film journal, Film International.

He takes great interest in the critical analysis of film, as well as writing, and dreams of one day entering graduate school. Production is also one of his key interests, and he plans to bring his organizational and leadership skills to table for Visions Film Festival and Conference.