“Heroes of the North” is a staggeringly immersive collection of multimedia created [...]]]> 5 Must-See Web Series  by Buzz Koffman

Buzz Koffman is a Toronto Filmmaker and actor who knows his way around a web series. Here he shares with Raindance his top 5 picks of leading edge series you might want to check out.

“Heroes of the North” is a staggeringly immersive collection of multimedia created by the Movie Seals production team from la belle province.  The web series packs a wallop in terms of its look.  With great costumes, highly-stylized post-production, and multiple intricate storylines, HOTN has a lot to give its audience.  A group of eight men and women assume the roles of Canadian superheroes, either by circumstance or design.  Their fight against an impressive array of bad guys, including Nazis, zombots and a league of equally impressive anti-heroes establishes the classic good vs. evil gambit, set within a very distinctive Canadian backdrop.  Movie Seals give their webisode followers a no-holds-barred action-packed live-action comic book, flavoured with a strong francophone spice, both in the manner in which the script is written and delivered.  All in all, a lot of good hard work has gone into making the web series; the cast and crew are fully deserving of the awards and attention they have received.
“Sexy Nerd Girl” is the brainchild of Toronto’s Simon Fraser and Stephanie Kidwell.  It’s a fictional vlog that portrays the thoughts and feelings of Valerie Lapomme, a confident, nerdy, and well, sexy girl.  She covers a wide range of topics from Big Hollywood to the subtleties of Magic: The Following deck colours, SNG offers the viewer quick, ADD-friendly episodes riddled with chuckles, laughs and lols.   
The very strong performances by Hannah Spear, Adam Christie and Shelley Kidwell make the series credible, and the actors are backed up by a large and capable writing staff, contributing to the popularity that the series is enjoying on YouTube.  This series makes for easy, light-hearted entertainment, and establishes in the followers a strong interest for the team’s plan to release their 10-part web series in 2012, that will portray Lapomme’s life outside of her own perspective.
“Clutch” is a gripping web series about a pickpocket femme fatale who gets herself into a lot of trouble when she crosses the wrong people.  Writer / Director Jonathan Robbins pulls out all stops with his project, and offers what is definitely the edgiest web series on the whole interwebz.  A cavalcade of violence, nudity (including the oft-avoided male full monty) and coarse language are interwoven into a gritty presentation of the protagonist Kylie’s challenges.  Elitsa Bako delivers a strong performance with Kylie, combining waif-like innocence with a street-hardened heart.  Robbins’ creation has generated a lot of interest.  Clutch is enjoying several notable nominations, including the prestigious Webbys, and the 2012 LA WebFest.   Clutch has definitely defined a strong niche for itself, and the efforts of the cast and crew make it the dark horse to bet on.

“Out With Dad” is a coming-of-age drama with a twist: the female protagonist is a 15-year-old girl facing the struggles of her newly discovered homosexuality.  Superbly written, acted and shot, the viewer is easily drawn into watching the complete series.   All cast and crew have created such an effective synergy that the final result is both genuine and compelling.  In particular, kudos go to the lead, Kate Conway in the realistic manner that she portrays the character Rose.  It’s easy to see how she won the 2011 LA WebFest’s Outstanding Lead in a Drama Series award.  Will Conlon, who plays Rose’s dad also understandably won the male equivalent of this award for that year.  Writer / Director / Producer / Cinematographer / Editor Jason Leaver’s vision is very professionally translated to his audience.  The tight and clean presentation of his project rivals the quality of popular television drama, earning him the laurels granted to him by the 2011 LA WebFest for best writer, director and cinematographer.

“White Collar Poet” is a story about Richard Scribe, an erstwhile insurance broker who, due to recent traumatic events in his life, turns to his “inner poet” to help himself make sense of his world gone awry.    Director Michael Grand and producer James Brown portray Scribe’s journey with a mockumentary style, effectively extending this approach to their social networking.  The series itself is refreshing, in that the subject matter is quirky both in its conception, and its delivery.  Vancouver actor David James Lewis does a very good job of developing a credible character with an effectively down-stated portrayal of Scribe’s inner conflict.  Joining him in the unfolding of Scribe’s journey is a strong team of actors, including Leo Award-winning Liv Leacock, who plays Scribe’s boss.  The humour generated from both the whimsical and edgy circumstances that Scribe finds himself in, and Lewis’ subtle dry humour, make “White Collar Poet” worthy of its nomination for the LA WebFest and its high viewership on Koldcast.

About the Author

Buzz Koffman is a Toronto Filmmaker and actor who knows his way around a web series. Here he shares with Raindance his top 5 picks of leading edge series you might want to check out.

Blogger Kipp Bodnar created a great new phrase: Social Media Capitalism. He defines this new term as how the internet is a wild

wild west of internet marketeers who attach payment reference codes to anything they can think of in order to monetise the traffic they create – either to [...]]]>

Blogger Kipp Bodnar created a great new phrase: Social Media Capitalism. He defines this new term as how the internet is a wild

wild west of internet marketeers who attach payment reference codes to anything they can think of in order to monetise the traffic they create – either to their Facebook pages, or to their blogs and websites.

A new web phenomenon was launched in 2009: Pinterest.com. Here registered users post photos of their favourite objects or venues. Pinterest adds a referral code to each picture its users upload, and then collects a commission each time a person goes to another website from Pinterest and buys something.

What this means, Bodnar argues, is that in order to capitalise of the traffic generated by www.pinteret.com, or any other affiliate marketing campaign, you need to understand and appreciate the powerful economic advantage of creating, building and and maintaining a solid social media campaign which integrates into the product you are trying to sell – in this case, your movie.

When Youtube (2005), Facebook (2007) and Twitter (2008) were born there were no systems in place to monetise web traffic. These websites have grown to become the elite in a handful of globally recognised social media websites along with Linkedin and Flickr.

About 2 years ago, these social media campaigns started monetising the traffic to their websites by selling advertising. In the process they managed to shift advertising bucks from terrestial television and print to their websites.

What makes 2012 a key date in social media hsitory is that Pinster has figured out how to make money from their website from the Get! Ready! Go! Not through advertising, but from traffic to and from their site. This is something that no other site has managed to do. Pinster’s explosive 4000% growth in the past year makes it possibly the only website able to rival and threaten Facebook.

All of this has important lessons for filmmakers and suggests 7 Basic Ways Filmmakers Use Social Media Capitalism.

By this I mean 2 things:

- Social media profiles may be free to create, but they are incredibly time consuming to maintain.
- What if Facebook and Twitter decide to charge businesses for profiles? This is considered unlikely. But they could.

If you are totally reliant on privately owned websites like facebook and Twitter, you expose yourself terribly if that is all you have. You can only control content and important metrics and analytics on your own website or blog. relying solely on third party websites is foolish.

You need to keep your own blogs and website going. If you don’t, expect to pay the big boys big bucks every time you sell a DVD or download.

Any marketing activity has a cost structure defined by the amount of time and materials required to produce and distribute your message. In the good old days at Raindance, we printed thousands of leaflets (at a set price per thousand) and then distributed them by post, or joined mail lists. The intent was to generate traffic to our festival and events. The theory became: Mail enough leaflets at so much per thousand, and enough people would subscribe to the event ensuring that it would be a success.

Your movie’s revenue potential relies directly on the amount of traffic your site receives. Generating traffic to your website costs time and money.

A considered spend on Facebook and Google ads will pay off if you take the time to understand how to utilize these powerful tools. Unlike the days of postage and leaflets, todays’ filmmakers have access to powerful tools to track the metrics of an advertising campaign and analyze them. These tools are free, but the time taken to learn how to use them is not, making it more difficult to gauge the cost of an online campaign.

Creating excellent content for your site and blog will also attract eyeballs.

Each time you make a movie you need to launch a new brand. The principals of branding a movie are the same as they are for any widget. One of the quickest ways to create a brand is to use the tool of genre. If your film falls into one of the specific genre types, like horror, or into one of the popular genre blends like romantic/comedy, or action/adventure you will find that it is much easier to create and develop the brand for your movie

You also need to develop your personal brand, so you can attract a group of people interested in what you are doing. As movies are best branded by genre, perhaps you too should consider creating your own personal genre.

In this new age, successful filmmakers need two people:
- the traditional line producer who makes sure all the stuff and all the people you need end up at the right place at the right time
- a social media producer who makes sure that all the content needed for a successful online campaign is created in the correct format and distributed over the appropriate blogs, notice boards and social media sites like Twitter and Pinterest.

Filmmakers I know seem to get shy when it comes to selling their wares. Don’t be shy!

If a punter is hanging out on your site, they will appreciate a clear and precise call-to-action. Having a big “Buy Now” button on your website isn’t enough. You need to ask people to try out your movie throughout your social media cycle.

Asking people to watch the trailer, vote on choices of graphics etc will start to engage your audience. By the time they get to your product page, they will be reaching for their credit cards to get your new movie with hardly a shove from you.

Crowd funding websites can also contribute to this. By asking people to donate in exchange for a DVD means you are asking people before the movie actually enters production.

Make sure you map your site and blogs traffic so you can lern how your followers move around your site and blogs.

You can’t just talk about your film. You will bore the pants off your audience.

Instead, create content that solves key problems your audience faces. Make these problem solvers integrated into your movie. Once you get someone reading your content, bring them into your website via social media and search engines. Once you have a visitor on your site you can present them with film-specific information and focus them on buying your movie.

Think like a trade publication. Create content that you or your friends would really like and be willing to share with others.

There are powerful (and free) analytics tools which allow you to track a site or blog visitors journey through your website and social media. Learn how to use these tools. You will get really good at understanding how to maximise your website’s potential and the results should be readily apparent.

The internet presents filmmakers a whole new opportunity for engaging audiences with your work. The effort in learning and maintaining this is not glamorous. It is hard, grungy work.

At least you can keep your hands clean!

Hope this helps,

If you would like to comment on this article, please click here

What sparked your interest in cameras and cinematography?

I started with stills photography as a child. I played with stills instead of playing with dolls. I was always fascinated with the idea of making pictures. In high school, I learned how to use a dark [...]]]> Sarah Moffat Q & A with Mirella Christou:

What sparked your interest in cameras and cinematography?

I started with stills photography as a child. I played with stills instead of playing with dolls. I was always fascinated with the idea of making pictures. In high school, I learned how to use a dark room. I got hold of a VHS camera and started to play with that in the early 80’s. After high school, I went to Centennial College for radio and television broadcasting. In my third year, I got to use a 16mm Bolex camera. I shot footage with that and learned how to edit the old fashioned way, before Avid was being used. Upon reflection, learning the old fashioned way has given me a greater appreciation for my work today.

When you were starting off as a cinematographer, how did you develop a sense of style?

It’s evolving. I don’t think that I have a definitive style. Sometimes that’s been challenging with what producers want to see on a reel, though I am grounded in my knowledge and style can be a collaboration from there. I would say it’s where your interests are that really guide your look. So, for me, in stills photography, my “look” is documentary, wildlife, nature, landscapes, natural lighting. In cinematography, you have to be broader, then adapt to the look the director is going for. Technology is constantly changing, and there’s always a different look. You can create so many variations in post-production, as well as in camera.

What words of advice would you pass along to an aspiring cinematographer?

If you are passionate about camera, spend some time experimenting with it and putting the effort in on your own. If you are truly serious about it, and wondering how to further educate yourself, surround yourself with communities such as Raindance or the Canadian Society of Cinematographers. You could also find online forums that focus on camera discussions (such as PhilipBloom.net, or the forum  HYPERLINK “http://creativecow.net” \t “_blank” creativecow.net). You can learn a lot from youtube. But take it with a grain of salt, because everyone does things a little bit different, so how do you know which way is right? Well, there are fundamentals, which I will try to teach in the course. Everything is experimental from there on.

In your course, you have encouraged each student to bring his or her own camera. What are you hoping this will achieve? 

The opportunity would be to experiment and see different options of what’s out there. To look at what people have got, see what it’s capable of, and use it as a tool of comparison when we hook it up to a director’s monitor. This will give a sense of whether the image looks like an HD video, or like film… and if that is something that can be controlled and changed. Many will bring in HD DLSRs, the stills cameras that have a nice HD feature. It produces nice images, but it has limitations. Each camera has its place – let’s see some variations and options.

Has being a female in the world of cinematography ever posed a challenge for you? 

The issue of lack of women in camera is at the forefront for me. Almost always when asked what I do, I still hear people say: “A woman cinematographer? I didn’t know they existed.”

My personal mission is cultivating women interested in camera through education.  It’s more challenging for women to have the confidence to walk into a conversation with a bunch of guys talking about cameras and feel like one of them. Women learn differently. Knowledge is power, and I hope to share that.  The other part of that mission is what I call “changing the conversation”, from “camera man” to “camera person”.  One simple word can do a lot and means a lot.  So, yes, I have been challenged greatly in this roll and being female, though I have chosen to find proactive ways to overcome.

Another hurdle in my view is that it takes longer for a woman cinematographer to be accepted, or build her reputation, specifically on large budget jobs such as series and features. Most of the big budget producers and directors are female, and are afraid to take the risk and hire a woman DP.  DP women need strong producers and directors to take a chance on us. That is why organizations like WIFT (Women in Film & Television) and Raindance play a critical role, because they are full of producers and directors. Getting the word out through them that women cinematographers are here and talented is most important! Thanks Raindance, for this opportunity!

 Check our our Cinematography Foundation Certificate course taught by Sarah Moffat. Register today: limited space! 

If you liked this you’ll also like: DSLR Camera Filmmaking

Here at Raindance we have devised a Top 10 Films list that begins with the infamous letter for you to peruse this weekend, don’t worry Harry Brown doesn’t feature..

Directed by John Carpenter
On Halloween 1963, the small town [...]]]> If M is for Murder, then H must be for Horror right?

Here at Raindance we have devised a Top 10 Films list that begins with the infamous letter for you to peruse this weekend, don’t worry Harry Brown doesn’t feature..

1.Halloween (1978)

Directed by John Carpenter
On Halloween 1963, the small town of Haddonfield is shocked when six-year-old Michael Myers returns from trick-or-treating and for some unknown reason stabs his older sister to death with a big kitchen knife and is found by his parents staring into space with the bloody knife in his hand. Sent to a mental institution, Michael spends the next 15 years just sitting, still staring into space despite the best efforts of his Doctor, Dr. Samuel Loomis. Now, on October 30th 1978, something triggers Michael off and during a storm manages to steal a car from Dr. Loomis and Nurse Marion (who was coming to take Michael to a court to keep him locked up) and goes back to Haddonfield where he steals a white mask, let the screams commence!

Everyone starts somewhere; get the moody, grainy look of Halloween by learning to use a Super 8mm Camera.

2.The Haunting (1963)

Directed by Robert Wise
Hill House has an evil history with tragic accidents, suicide, and human misjudgement. Dr. Markway (Richard Johnson) is a pyschic researcher who assembles a group with histories linked to the paranormal. Eleanor (Julie Harris) was the subject of unexplained poltergeist activities as a child. She also is riddled with guilt over her mother’s death. Theadora (Claire Bloom) is a clairvoyant who befriends Eleanor at Hill House. Hill House tests their wits and their own insecurities. Director Robert Wise created a taut drama where the real question is who is haunted and who may be unstable.

Any cinematographer will tell you the power of lighting. This was used extensively in The Haunting. We have an evening lighting course to teach you how to create mood or a genre piece.

3.Hellraiser (1987)

Directed by Clive Barker
I can’t remember hearing the word ‘Cenobite’ before, but after watching Clive Barker’s directorial debut you know it may bring a new meaning to the word ‘nightmare’. The story goes Somewhere in Morocco, a man named Frank Cotton (Sean Chapman) buys an antique puzzle box from a dealer. Back at his house Frank solves the puzzle box and hooked chains immediately fly out of it, tearing into his flesh. Demons from another world called Cenobites appear to inspect Frank’s remains. Their leader, “Pinhead” (Doug Bradley), picks up the box and twists it back into its original state, and the room immediately returns to normal – but with Frank nowhere to be found, Frank’s brother and family move in to the house and its not long before the box appears again.

Its easy to think that making a feature film, let alone one like Hellraiser isn’t possible, but it is, why not check out our course on Directing you first Feature!

4.The Hills Have Eyes (1977)

Directed by Wes Craven
Most of the films on this list are dated, but we prefer to side with the idea or new take on an existing genre at Raindance. Wes Craven’s 1977 film set conventions that horror writers still follow today; Isolation, Unfamiliar Terrain, Outnumbered, Deranged Hillbilly’s.
When told to stay on the beaten track, retired cop ‘Big Bob’ (Russ Grieve) knows best and unwittingly leads his family into a world they could only imagine. Craven provoked controversy with Rape, Murder and of course Cannibalism in one of the genre defining films of the 70’s.

This film was notoriously made on a low budget. Learn grerat tips on how to go about launching your own movie defining low to no budget film.

5.The Hitcher (1986)

Directed by Robert Harmon
A portion of horror films has a sole Predator and a chase scenario. From an analytical point of view (Stroking my brow), this film can be likened to Jaws or Halloween.
Jim Halsey (C. Thomas Howell), a young man delivering a car from Chicago to San Diego, spots a man hitchhiking and gives him a ride. The man, John Ryder (Rutger Hauer), is a brooding, soft spoken man; when Jim passes a stranded car, however, Ryder’s personality suddenly shifts. Ryder calmly states that the reason the car is stranded is because he murdered and mutilated the driver, and he intends to do the same to Jim. Ryder produces a switchblade knife and taunts Jim for several moments before Jim realizes Ryder had never put on his seat belt and that the car door was left ajar, so he knocks him out of the car’s passenger door. Thinking its all over? Things go from bad to worse for Jim.

6.Hannibal (2001)

Directed by Ridley Scott
The films involving Hannibal Lector are simply hit and miss, but it should be accepted he is one of the true legendary ‘baddies’.
Part four in the Hannibal Lector Quadrilogy. Having escaped the asylum in “Silence of the Lambs,” Dr Lector goes into hiding in Florence, Italy. Back in America, Mason Verger, an old victim of the doctor’s, seeks revenge. Disfigured and confined to a life-support system, he plans to draw Lector out of his hiding place, using the one thing he truly cares for: Clarice Starling. Be sure to catch Manhunter (1986)!

7.House of 1000 Corpses (2003)

Directed by Rob Zombie
As far from ‘original’ as you can get, other than some of the Halloween sequels, this is on the list to show what you can do with an existing and possibly exhausted scenario. Rob Zombie shows good plot points and characters with the best thing being the dialogue.
In “House of 1000 Corpses”, two young couples take a misguided tour onto the back roads of America in search of a local legend known as Dr. Satan. Lost and stranded, they are set upon by a bizarre family of psychotics. Need I say more?

Rob Zombie must know his way round a screenwriter’s book. Why not try out our screenwriting classes to see how he did it.

8.Hard Candy (2005)

Directed by David Slade
Provocative, controversial and begins with H. Hard Candy hits pretty hard with good performances from Patrick Wilson and Ellen Page. It leaves you with the impression of: Well, who do I feel sorry for..?
With castration on the cards when hiring from Blockbuster be prepared to look away occasionally!
For three weeks, 14-year-old Hayley Stark has been chatting on-line with ‘Lensmaster319′, a 32-year old fashion photographer, named Jeff. The two agree to meet at a coffee shop, where their relationship is uncertain from the get go.

Directing performance is one of the things that can make or break your film, as Hard Candy shows. At Raindance we teach filmmakers how to get the best out of their actors.

9.Hostel (2005)

Directed by Eli Roth
Hostel is sure to make you glad that you didn’t take that lads holliday to Eastern Europe and its not all bad sitting at home eating Wotsits.
While backpacking through Europe, college students Paxton and Josh seek the ultimate vacation through sex, drugs and unforgettable experiences. When a friendly stranger informs the two of a hostel in Bratislava that offers the most beautiful and promiscuous women in all of Europe, Paxton and Derek trek with their new Icelandic friend Oli to find the hostel that sounds too good to be true. When arriving to Bratislava, the trio found that the hostel was everything and more of what they expected. The events that follow are sure to deliver the unforgettable vacation that the two were looking for.

Tarantino spotted a winner and helped produce this blockbuster. If you think you may be onto a winning idea, why not produce it. We have a Producer’s Foundation Certificate that can get the ball rolling.

10.House of Wax (1953)

Directed by Andre de Toth
A blast from the past, not staring Paris Hilton. House of Wax
A sculptor of wax figures for a museum is horrified when his partner proposes setting fire to the unpopular museum in order to collect the insurance money. As the wax figures melt amid the blaze, the two men have a fight. The sculptor is knocked out in the scuffle and left to “perish” among the flames. He resurfaces many years later for the launch of his own wax museum. The opening coincides with the sudden disappearance of some dead bodies from the city morgue. His assistant begins to suspect his boss of foul play, especially after the deranged wizard of wax begins eyeing his assistant’s lovely girlfriend’s friend as a model for a waxed figure of Marie Antoinette..

Take a look at the date 1953. Basically Cinematography has come on leaps and bounds, but the essentials remain the same. We can teach you what you need about Basic Cinematography to know to get shooting.

So here are 10 Horror films likely to make you think twice about buying a strange antique cube from a 14-year-old hitchhiker on an off road in Easter Europe!

It may however interest you into how these filmmakers have made these films and making something of your own.

If you would like to comment on this article, please click here

Jake is born and bred in London and is currently studying Film Production at University.

He loves to watch and make films and is in the process of launching a Production company and writing his first feature horror film.

He is presently interning at Raindance.

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© 2010 Raindance Festivals Ltd.
Reproduction of this article without written permission is strictly forbidden. For information on reprint rights please email info@raindancecanada.com

H Is For Horror Movies

A website (called a domain name) name is the very first, and crucial step. Filmmakers often get an url for each [...]]]> By Elliot Grove

To look like a pro in social media, there are a few simple steps you need to take. Don’t overthink any of these steps. Just do it!

1. Get An URL

A website (called a domain name) name is the very first, and crucial step. Filmmakers often get an url for each of their films, which they can also host under their main domain name. Chose a name that describes you or your movie and register it. To see which names have been taken, go to www.whois.com. To purchase a domain name, check out a website like www.hostgator.com.

2. Get A Blog

A blog is a website, or part of a website, which is updated by an individual and which usually allows visitors to comment on the articles posted to the site. There are lots of different options for setting up a blog and they’re all very quick and easy to use. Some of the most popular blogging softwre is WordPress, Blogger, Movable Type and Typepad. These software packages provide CMS (Content Management Systems) which allows easy update of the blog with text and pictures.

3. Get An ISP

You need an Internet Service Provider (ISP) to connect to the internet. An ISP is the service that hosts your website and blog on the internet, and allows you to access it as well as providing email accounts. Prices will vary according to the number of email accounts you need and how much storage you need for your website.

4. Get a Picture Editor

You need to be able to resize and edit pictures. Photoshop is a wonderful piece of software but costs about £500 ($800). Gimp does more or less the same job, and it’s not only free, it’s legal. Find out how to get lots of free software here

5. Get Content

If you want to build your list, it’s all about content. You will need to acquire or create content. Remember that simply copying someone else’s work into your blog, Twitter or Facebook profiles will actually harm you more than help. The search engines could well think you are either spam or porn, and push you further down the rankings.

Good content is fresh, direct, original and to the point. We plan new articles on content creation specifically for the web. To get these articles, why not subscribe to our free weekly newsletter?

6. Get An Audience

Start telling everyone you know about your new-found social media presence. Add your Twitter or Facebook profile address to your email signature and to your stationary and websirte. Useful tools on how to build tyour audience will follow in a further article, but here is a good one:

Comment or like other people’s work. Liking or mentioning someone else’s article or movie is a form of flattery. Often that person will like you back, and presto, you have made another friend.

7. Get A Routine

There are two potential pitfalls one can easily fall into, both potential career killers. The first is to start a social media campaign only to abandon it. Nothing turns browsers off more than seeing a blog or Twitter account last updated 100 days ago. The second is to allow the management of your social media profiles to overtake and consume you, leaving little or no time for anything else.

Successful filmmakers decide how they want to be see on the internet, then develop a plan that accounts for their budget, both of time and money.

Generally speaking at Raindance we have two people who concentrate on social media: including the planning and writing of newsletters, updating webpages and writing and posting on Twitter and Facebook. We try to limit the time spent to the mornings, and by using scheduling servie software like Hootsuite, Tweets, Facebook status updates and newsletters can be written and scheduled in advance.

With as little as fifteen minutes a day, filmmakers can maintain a valuable social media profile. The trick, of course, is to use your time wisely, efficiently and intelligently.

Your Comments Please

Comments are really useful and makes the team at Raindance feel like their effort has had a positive impact. If you would like to comment on this article, please click here

About the Author

Elliot Grove has worked intensively with writers and filmmakers at Raindance since 1992. He explains the tricks of the trade from practical experience and reveals some of the latest paradigms through lecture, exercises and video clips.

Elliot Grove founded Raindance Film Festival in 1993, the British Independent Film Awards in 1998, and Raindance.TV in 2007.

He has produced over 150 short films, and 5 feature films. He has written eight scripts, one of which is currently in pre-production. His first feature film, TABLE 5 was shot on 35mm and completed for a total of £278.38. He teaches writers and producers in the UK, Europe. Japan and America.

He has written three books which have become industry standards: RAINDANCE WRITERS LAB 2nd Edition (Focal Press 2008),  RAINDANCE PRODUCERS LAB (Focal Press 2004) and 130 PROJECTS TO GET YOU INTO FILMMAKING (Barrons 2009). His first novel THE BANDIT QUEEN is scheduled for publication in 2011.

Open University awarded Elliot and Honourary Doctorate for services to film education in 2009.

If You Liked This You’ll Really Like

Upcoming Course:  Media Presentation Skills

Free Article: 3 Big Mistakes Filmmakers Make After Thier Film Is In The Can
Free Article: Creating A Personal Genre
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Watch independent shorts, features and documentaries on www.raindance.tv

© 2011 Raindance Festivals Ltd.
Reproduction of this article without written permission is strictly forbidden. For information on reprint rights please email info@raindancecanada.com

Getting Started in Social Media for The Complete, Absolute and Utter Beginner

Producers need to pitch to investors, distributors and broadcasters. Directors have to pitch to producers. Filmmakers pitch to get acting talent or hot new directors to come on board. So you’re in good company.

Solid preparation and a well-tested pitch structure are key to making [...]]]> By Zoltán Barabás

Everybody has to pitch!  Not just writers.

Producers need to pitch to investors, distributors and broadcasters. Directors have to pitch to producers. Filmmakers pitch to get acting talent or hot new directors to come on board. So you’re in good company.

Solid preparation and a well-tested pitch structure are key to making a pitch, to sell your script idea or to raise money.

Here’s what I think are the 5 Immutable Laws for Pitching to Perfection. This set of guidelines I learned from pitching in the trenches of Hollywood, Budapest, Toronto, London and Vancouver.

Obey these laws, and you’ll be leagues ahead of your competition.  Ignore them at your peril.

1. Know Your [first] Audience

Pitch to the people who will make your film, not those that will watch it. Don’t pitch your horror film to a company that produces for children.  Don’t pitch a romantic comedy to a company that does drama.  Get the picture?  Pitch to companies that make the kind of film that you want to sell.   Before you pitch, make sure you do research on the individuals you’ll be pitching to so you can appeal to their vanities: Use their website, IMDbPro, the Hollywood Creative Directory, and a straight ahead Google search. Be shameless.

2. Structure is King

The basic structure for a successful pitch: introduce yourself, build rapport, acknowledge a common interest, start with a personal connection to establish your passion, and then pitch the actual story.   End with your title, and finally the antecedents (a comparison to other films that came before).  Have a system for preparing your pitch with questions about theme, plot, character arcs, inciting incident, the main conflict, and the climax/resolution.  With a solid structure for preparation and pitching, you’ll be seen as a professional (even though you might still be an amateur).

3. Handle Objections in Advance

This shows you have industry knowledge. Do your homework.  Anticipate objections.  Respond to “we already have something like that in development;” with “not like mine, and let me tell you why…”  Respond to “historical dramas aren’t in right now,” with “currently in release, yes.  However, we all know that all genres are cyclical, and my story is due to be back in vogue in about two years…”  You’ll demonstrate industry knowledge and being quick on your feet.  Producers want to work with people like that.

4. End your pitch with the “antecedent”

But don’t start with it! The comparison to a previous work should wrap up your pitch like a present! Don’t start with “it’s kind of like Jaws meets  Love Actually.” That distracts your audience while they are ‘listening’ to your pitch.  After you set up the pitch (see Structure is King), go straight into your story, finish with the title of the project to wrap it up, and tie the bow with your antecedents (examples of similar films that were COMMERCIALLY successful or the mash up of two popular and successful films/genres).  This way your audience will pay attention to your story, and THEN see the relevance of your comparison.  Voila, you have handed your audience a gift.

5. Practice Makes Perfect

Tiger Woods and Tony Hawk practice incessantly. Can’t emphasize this enough.  Pitch in front of the mirror; you’ll feel embarrassed.  Don’t bother pitching to your dog…or friends and family. They don’t want to hurt your feelings.  Practice in front of two or three film industry colleagues who’ll be ruthless, and your pitch will improve exponentially.

Obey these 5 Immutable Laws of Pitching… and you’ll have a fighting chance to make yourself heard above the chatter of everyone trying to pitch their stories.

Your Comments Please

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About the Author

Zoltán Barabás has written for theatre, film and     TV;  for hire, on spec and to produce himself. Successfully navigating a career as a writer, producer, director and actor, Zoltán brings a unique perspective to the business and art of writing. He has had to “sell” and “buy” scripts and creative material since 1993, in Canada, in the US and in Europe.

Zoltán has been a producer on four feature films, executive produced a TV show in Hungary, directed a feature length docu-drama, and three short films. Zoltan has taught many people how to successfully pitch, and he recently taught two of the top three prize winners at our spring LIVE! AMMUNITION! Pitching contest.

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These rules work for a pitch meeting for a screenplay, or just about any situation where you are trying to get the deal, whether it is in the film industry or not.