How to Cut Costs When Cutting Your Film

Top filmmaker and documentary consultant Karen Everett discusses fast track editing: the art of getting films to editors, and working with them at all stages of production. 

by Christopher Eyte

WHEN it comes to experience in the film industry, it would be hard to beat the achievements of Karen Everett.  As one of the world’s leading documentary story consultants, Karen is also an award-winning documentary filmmaker who has taught editing skills for nearly 20 years at the Berkeley Graduate School of Journalism at the University of California. Karen owns New Doc Editing, a pioneering editing and consulting business helping filmmakers structure compelling documentaries for venues such as PBS, HBO, Sundance and other top film festivals.

Karen Everett

One of the first questions Karen asks a director is, “What are the seven top ideas’ needing to be created in the film?”

Karen is a fount of wisdom when it comes to making documentary films and shared it during her visit with Carole Dean of From the Heart Productions on The Art of Film Funding Podcast.

In particular, she has some great tips on logging guidance: how to get out of production into post-editing and best methods for a successful rough-cut screening. As a professional who has notched 30 years in the industry, one of the most exciting changes Karen has seen is the rise of inspiring documentaries, as she calls them, as opposed to films preoccupied with ‘what’s wrong with the world’ such as homelessness and climate change.

Audiences want positive social action documentaries

“I think [those films] were needed at the time to open our eyes but I recently read that Jerry Seinfeld said documentaries have a reputation for being ‘incredibly depressing’. That’s changing. For example, people will go to see a film that is about a Supreme Court justice who fought her way up the ladder, or about Fred Rogers. These [new] films focus on protagonists who are doing something, they’re not burying their head in the sand, they’re doing something to change the world.”

The new focus in modern documentaries means that filmmakers and media bodies such as CNN are choosing stories which are more positive and meaningful, according to Karen. There’s still a role for investigative documentaries in her opinion, but her story consulting work is seeing documentary makers taking a more positive emphasis on social issues. 

Accelerated Post: 10 weeks to completed edit

Karen knows the challenges of funding film making and that is why she is supportive of the sterling work by From the Heart Productions. Her own business, New Doc Editing, is focused on lowering the costs of making films. The editor’s input plays a key factor in that budgeting, as well as time taken in editing. A one-hour PBS documentary edit used to take about six months to edit the 30 hours of footage. Karen says that her company’s new program, called Accelerated Post, will edit the documentary in 10 weeks or less, with a weekly editing fee of $3,000. It is a fast-track, post-production process. 

“Frankly, if you’re paying less than that for an editor, I would seriously check their credentials. One of the reasons we can do it in 10 weeks is because our handpicked editors, they’re in the top five per cent of editors and they’re good… fast! And you also get me as a story consultant. We hone in quickly on the filmmaker’s vision and what needs to happen to execute that. Is it going to be a story-driven documentary? We need to get really clear on the structure of the film before we start editing. If there’s not a story (in the sense of a character on a quest), then it’s probably an essay-style film.”

One of the first questions Karen asks is, “what are the seven top ideas’ needing to be created in the film. The director is then guided to cut footage down to 30 hours – overshot is a common issue. The first three weeks are then spent working on an assembly cut, getting the best footage together. A couple of two-week rough cuts will follow, working out the film structure, story and employment of characters. Lastly there will be a two-week fine cut and a week for the picture lock. 

Your job is to deliver a protagonist/character-driven film to New Doc Editing

Karen doesn’t promise strict timings for the process ‘because it’s not up to us when a film is done’ – but she knows how to speed up the process. The guideline for getting it down to 30 hours is to create a sequence if it’s a protagonist/character-driven film. The character is on a quest so using text on screen and markers helps to gather the plot points. She advises choosing the key moment in a given scene and then ‘throw that into a sequence of plot points’. Surrounding clips can then build the scene and separate sequences created for each main character. This helps to see the story and if it’s sustainable. 

The director’s top seven ideas in the film might involve seven sequences focused on ideas in the documentary. This can seem a lot of work when logging for the edit ‘when you’re sitting before a mountain of footage’ but if you follow certain techniques, Karen finds the process is not so time consuming and boring. 

It’s your choices that quicken the edit

Karen Everett

Karen Everett of New Doc Editing

“Your mind has to be very sharp because you’ve got this list of criteria: the key plot points, the key ideas in your making. You’ve just got to force yourself to make a decision about, for example, if two people say the same thing, which person says it best?” Karen’s final tip is technical: don’t rename your clips, which are six-digit or alphabet/numerical titles. “The camera gives it. If you rename it, then it can be hard to read, link the footage and slow down.”

Can we trust her editors? Karen believes trust is key – finding that the person who fits and feels right for the work; and also trust in terms of experience and credentials. She only hires editors that have two feature documentaries ‘under their belts that have won awards’. A good editor should also be humble, willing to give a point of view but respect your editorial authority. Directors should at the same time have a vision and convey it, according to Karen. 

You must tell us up front what is the protagonist’s ‘statement of desire’

But how do directors know when the filming is enough and it’s time for post-production? Karen says overshooting is a common mistake. The answer is ‘being clear about what the film is about’. Talking to a story consultant such as Karen will help give this clarity.

Being clear about the story is crucial so the viewer doesn’t have to second-guess the focus of the film. Karen calls this a ‘rule of thumb’ that the protagonist’s ‘statement of desire’ is made clear within the first five minutes of the film. An inciting incident, something happening to the character, will proceed this and galvanize the protagonist into embarking on the quest.

Karen adds that the importance of conversations is too often overlooked for character stories. She says documenting relationships in films ‘is very juicy’. Filming conversations, such as between two antagonists (e.g. as in Michael Moore’s films) is inherently dynamic and ‘often more fruitful than an additional solo interview or pick-up interview’. 

How to save money with a story consultant

Story consultants, known as story editors in Hollywood, are fairly new in the world of documentaries and people don’t always budget for them. Even so, it’s helpful to have their input at both pre and post- production stage. Questioning the story basis and whether it is cutting edge is important, according to Karen: “A lot of filmmakers will, for example, want to make a film about Alzheimer’s Disease and following this amazing couple that they met and yet this kind of film has done before. So again, what can you add that’s new?”

Finding a story consultant saves money because it helps filmmakers be clearer about how to direct the camera. Some trailers don’t tell the story or the essence of the real film, and Karen believes that’s a big problem. “What is the central question that you are trying to answer? Or what is the thesis statement, the key idea that you are trying to… the case you’re trying to make?” 

New Doc Editing offers professional help with editing documentaries that inspire. Karen adds: “I have a new website with lots of beautiful portfolio pieces of films we’ve worked on. Check it out!”

Find out more via newdocediting.com or drop Karen an email via karen@newdocediting.com 

 

Chris & Céline Eyte, a husband-and-wife team, own Resurrect Media which is a premier news and content marketing agency based in Abergavenny, South Wales. Their mission is to tell the stories of clients by creating written or visual content, which is simply fantastic and achieves wonderful results.  They specialize in writing and editing services, providing journalistic support, graphic and web design, and photography for events and products.  

Feature Film “El Cadejo Blanco” Wins First Roy W. Dean Grant of 2019

Spring 2019 Roy W. Dean Grant Winner to Receive $30,000 in Cash and Film Production Services

From the Heart Productions, the nonprofit that awards the Roy W. Dean Grant has selected, for the first time in the grant’s 27 year history, a narrative feature film as a grant winner.  “El Cadejo Blanco”, a female-driven crime thriller set in the dangerous world of “clicas” (youth-gangs) in Guatemala, is the recipient of the Spring 2019 Roy W. Dean Grant.  Awarded 3 times each year, the Roy W. Dean Grant goes to an independent film that is unique and makes a contribution to society.  The winning film will receive $30,000 in a combination of cash and production services to aid in it’s completion.

Spring 2019 Roy W. Dean Grant

“El Cadejo Blanco”

“We are very thrilled to be able to support this film exposing the harsh realities of life for some in Latin American.” said Carole Dean, president of From the Heart Productions. “It is very exciting for us to assist this film through our grant on its journey to completion and to reach an audience.” 

“El Cadejo Blanco” is a narrative/documentary hybrid feature film about a young, working-class girl from Guatemala City (Sarita) who, when her younger sister goes missing, travels to the small town of Puerto Barrios to track down her sister’s dangerous ex-boyfriend, Andrés. Through great peril and life-threatening tasks, Sarita lies about who she is and joins Andrés’ teen-gang, slowly growing closer to him and to the truth about what happened to her sister.  

The script was written by director Justin Lerner with the help of real teenage gang members who shared with him their stories of living in Puerto Barrios and who will play versions of themselves in the film. They will act alongside a handful of Guatemala’s most famous, award winning film actors.

Lerner is a professor of film at the Cinema School at University of Francisco Marroquin in Guatemala City and this project has partnered with the NGO “Movimientos De Esperanza” to use some of the film’s budget to give financial, psychological, and emotional aid to the children of Puerto Barrios, before, during and after the film is finished, to give them opportunities to earn a living that does not involve violence, outside of the gangs.

In addition to the $3,500 cash prize, the Spring 2019 Roy W. Dean Grant Winner will receive, expendable, lighting and grip equipment from Filmtools, a Glyph StudioRaid 6tb hard drive from Glyph Production Technologies, 40% deduction on color, editing, and sound & all production services from ProMedia NYC,  and more from many other heartfelt film industry donors.

About the Filmmaker

Justin Lerner – Writer/Director  After graduating “cum laude” from Cornell University, Justin moved to Spain to teach, before getting an MFA in Film Production at UCLA.  His thesis film “The Replacement Child” was awarded with two College Television Awards (Student Emmys) and premiered at Telluride Film Festival.

One year after receiving an MFA from UCLA, his first feature film “Girlfriend” premiered at Toronto Film Festival and won the Gotham Independent Film Audience Award. It went on to screen in 14 countries. His second feature film “The Automatic Hate” premiered at SXSW Film Festival and and was named by IndieWIRE as one of the 10 Best Films at SXSW.  It was distributed by Film Movement.

About the Roy W. Dean Grant

Now in its 27th year, the Roy W. Dean Grant has awarded over $2,000,000 in cash and donated film services to independent films. The grant is awarded to films budgeted under $500,000 that are unique and make a contribution to society.  It has been an important lifeline for independent filmmakers needing help to continue working on their film and to get it completed.  Without assistance from the grant, many excellent and important films may never have been made. 

Past winners of the grant include the Emmy winning Mia: A Dancer’s Journey,  2019 Sundance Film Festival selection Raise Hell: The Life and Times of Molly Ivins, and the acclaimed documentary Kusama-Infinity which is now in distribution showing in theaters around the US and world.

About From The Heart Productions

From The Heart Productions is a 501(c)3 non-profit dedicated to helping filmmakers get their projects funded and made.  Besides providing funding through the grant, they offer films fiscal sponsorship which allows donations made to films they sponsor to be tax deductible.  From The Heart has helped independent filmmakers raise over $10 million through it’s fiscal sponsorship program.  President Carole Dean is the best-selling author of The Art of Film Funding: 2nd Edition, Alternative Financing Concepts

For More Information and interview requests, please contact:

Richard Kaufman

richard@fromtheheartproductions.com

www.fromtheheartproductions.com

 

Summer 2019 Roy W. Dean Grant Finalists Named

26 Films Selected as Summer 2019 Roy W. Dean Grant Finalists.  Winner to Receive Grant Valued at $30K in Cash and Production Services

From The Heart Productions , the nonprofit dedicated to helping of independent filmmakers fund their films, announced Summer 2019 Roy W. Dean Grant finalists. The second of 3 film grants awarded yearly, the Roy W. Dean Grant is given to a film that is unique and makes a contribution to society.  The winner will receive $3,500 cash and thousands more in donated production services from film industry professionals and companies.

Summer 2019 Roy W. Dean Grant Finalists

“The quality of work and commitment to it from all these filmmakers is wonderful.” said Carole Dean, President of From the Heart Productions. “All of the projects chosen to compete for the grant have the opportunity to become exceptional films in the future.”

Now in its 27th year, the Roy W. Dean Grant is open to documentary films, feature films, web series, and short films or a combination.  It is open to filmmakers around the world.  Applications were received not just from U.S., but from filmmakers in Canada, the United Kingdom, India, Lebanon, and the Ukraine.

All filmmakers who entered the grant are given the opportunity for a free consultation on their project.  Winner of the grant is expected to be announced in November.

The Summer 2019 Roy W. Dean Grant finalists are:

Title

Film Type

Submitting Filmmaker

Where Love is Illegal TV, Web or New Media Nick Fitzhugh
In Justice TV, Web or New Media Nikki Hevesy
Help Is On The Way Documentary William Nolan
One List One Life TV, Web or New Media Dillon Hill
The History Of This Documentary Leyla Rouhi
Beyond The Duplex Planet Documentary Beth Harrington
26 Seconds Documentary Kelly Galindo
The Vintage Voyageur TV, Web or New Media Allison Maldonado
An Elephant In The Room Documentary Katrine Sahistrom
El Cadejo Blanco Feature Justin Lerner
999 The Extraordinary Young Women Documentary Heather Dune Macadam
Swanson on Sunset Documentary Jeffrey Schwarz
Ready Or Not? Documentary Jenny Mackenzie
Acid Test Feature Jenny Waldo
Conscience Short Brandon Kelly
Sacrifice Zones: The 48217 Feature Ben Corona
Wali & Zuri Short Derrick Woodyard
Quantum Qi TV, Web or New Media Sharron Rose
Radical Landscapes Documentary Elettra Fiumi
Dawn Dusk Documentary Jason & Blue Gerber
Mermaids Against Plastics Documentary Sylvia Johnson
Crossing Market Short Brandon Kajewski
The Other Tribe Documentary Lydia Mangeni Stewart
40 Days & 40 Nights Documentary Taira Akbar
Busted Feature Rebecca Hamm
La Recua Documentary Trudi Angell

 

Each finalist is given the opportunity to post information on their contending film on the From the Heart Productions website.  You can view an image from the film, filmmaker info, and loglines.  If they have available, filmmakers can include a link to their film’s website, Facebook page, or relevant social media connection. 

In addition to the  $3,500 in cash provided by From the Heart Productions the winner will also receive $500 in expendables, lighting or grip equipment from Filmtools,  a G-Technology ArmorATD hard drive with case, $1,295.00 Scholarship to Writers Boot Camp, and more from heartfelt film industry donors that support independent filmmaking.

About the Roy W. Dean Grant

Founded in 1992, the Roy W. Dean Grant seeks films that are unique and make a contribution to society that, without it’s help, might otherwise not get made.  There is a Spring, Summer and Fall Grant.  The Fall 2019 Grant has extended its previous deadline and is accepting entries until Oct 31st.  

Past winners of the grant include the Emmy winning Mia: A Dancer’s Journey,  2019 Sundance Film Festival selection Raise Hell: The Life and Times of Molly Ivins, and the acclaimed documentary Kusama-Infinity which is now in distribution showing in theaters around the U.S. and world.

About From The Heart Productions

From The Heart Productions is a 501(c)3 non-profit dedicated to helping filmmakers get their projects funded and made.  Besides providing funding through the grant, they offer films fiscal sponsorship which allows donations made to films they sponsor to be tax deductible.  From the Heart Productions has helped independent filmmakers raise over $10 million through its fiscal sponsorship program.  President Carole Dean is the best-selling author of The Art of Film Funding: 2nd Edition, Alternative Financing Concepts

 

“Sound” Advice to Save You Money in Audio Post-Production

How New Filmmakers Can Avoid Disasters in  Audio Post-Production for Their Films and Learn From an Expert How to Do it Right the Next Time

by Carole Dean

Jerry Deaton, President of AudioKut, has spent the last five years developing his company as one of the new breeds of boutique affordable audio post-production facilities. A donor to the Roy W. Dean Grants for many years, he has mastered the sound of many of our winners and our fiscally sponsored films too. His credits span from re-recording mixer, ADR mixer dialogue editor, to sound design editor, composer, and everything in between.

 audio post-production

“Hire those out of college because they probably have the gear, they have the time, and they’re willing to put the effort in. But, then also hire somebody who’s been doing it for a long time to come out to your location and just kind of check on them.”

Recently, Jerry decided to support filmmakers even more by teaching.  He now gives classes where students sit with him and learn on their own project how to fix and mix their films.  He also checks the final work if they need it.  All of this is on an hourly basis. 

Emerging filmmakers end up spending only a fraction of the cost for audio post and become better filmmakers in the process.  He walks them through all of the technical and creative steps of the process. 

I asked him to join me on my The Art of Film Funding Podcast to discuss his new class and how independent filmmakers can avoid audio mistakes that only show up when you get to post.

Choosing the Right Editing Software Can Save You Money in Audio Post-Production

Jerry said that sometimes it’s as simple as selecting the right software to save money.  The software new filmmakers choose may not do what they think. 

“I find first-or-second time filmmakers with small budgets are wearing several hats.  They are the producer, writer, director, editor and they are expected to know each of these professions intimately.  But, honestly, they don’t.  They don’t know enough so they choose the wrong software. 

“Let’s say they choose Final Cut Pro 10 to do their editing.  It may be a cheap and easy platform to work with but, after all those countless hours they put into editing, they find that when they’re ready to go to final picture lock, they cannot get the sound off in a professional manner.  

“You can’t turn it over to a post house.  You will have to do it in a very archaic manner to even get the sound out.  Then, it costs you much more money for the sound post house to basically re-cut that sound so that it’s workable in a post environment.” 

He suggests spending just a little bit more money and investing in a program like the Adobe Creative Suites or some other platform that will allow you to export your audio in a professional manner.  Just this alone will save so much time and headache down the line.

Getting Quality Sound and Saving Money for Micro Budget Filmmakers

“If an independent filmmaker is making a micro or low budget film,” Jerry suggests, “they need to be very careful in hiring a sound person. Preferably you want someone who has worked on other films.”

“However, there are a lot of filmmakers coming out of college that have been trained to do sound and in a theoretical environment.  When they get out of school and they want to get their first couple of jobs to build their resume. Then often, they’ll do an independent film for free. But what you’re going to get is somebody who may be making a lot of mistakes because they’re learning on your film. And, if I was the filmmaker, the producer, the director, I would not want that situation.”

He recommends filmmakers to go ahead and hire those out of college because they probably have the gear, they have the time, and they’re willing to put the effort in. But, then also hire somebody who’s been doing it for a long time to come out to your location and just kind of check on them.

“The expert needs to be able to tell you: ‘This guy or girl knows what they’re doing, don’t worry about it.’ Or if that expert says, ‘look, from what I see, your movie’s going to be really bad,’ then that’s worth paying for. That assurance wouldn’t cost you much. That visit could be done on an hourly basis.”

But a lot of producers and directors don’t know this is a possibility until they get to post and then they find the problems they have.

”If they called me and said, ‘this is our situation, we’re getting ready to do principal shooting in three weeks. You know, we’ve hired a sound person but we’re not sure they’re really going to be able to do the job.’ I would tell them, hire somebody from my company to come out and spot check.

“If they give a sign off, you’re good to go. And then, you can bring the package to us. This way, you will not get a bunch of surprise comments like, ‘Oh, why did that mike cut out or Oh, why is your refrigerator running during your love scene?’”

Stacking Sound Files Can Be Costly and Leave the Editor Without the Best Choice

“When editors receive their sound files from the sound mixer on location, they’re usually receiving them in a stacked formation. So, let’s just say a scene a will have eight files. That is one person talking. So, it’s eight files of that one person saying one line, but on eight different mikes or eight different situations, eight different audio captures. And then what happens is, when the editors bring those eight files into their editing platform, they tend to merge all those together. And when it gets to sound post, it’s a big problem to unmerge those so that you can choose the best recorded audio piece.

“So I would tell whoever is compiling all these sound files, it’s usually the editor or editors/director, that they should learn the technology behind doing this the right way so that when it does get to sound post, it doesn’t cost them extra money.

“These problems are created because people don’t know what to do with these files, they just look at them and think, I’ll just put them all together. It’s like, no, don’t do that.  They were made so you have the very best sound to choose from. That’s why they did it more than once.”

He thinks directors and editor/directors are learning a lot of their technical skills from YouTube tutorial videos. And that those are great because they do give you a lot of insight into the technology.

“But I still would tell a director/editor, hire somebody that’s been doing this for a long time. Bring them over to your editing suite and just have them walk you through how to navigate these waters. It would be probably the best, $75 or $100 an hour you’ve ever spent, and it would last them the rest of their career.”

Jerry Deaton’s Classes on Sound Recording & Editing

audio post-productionJerry’s new class evolved from all the errors he’s seen with independent filmmakers make on their films. He’s the one they call when they run into these massive problems.

“Some get into problems at a locked cut. If they’re at a lock cut, there’s nothing that can be done. It’s just repair mode. But if they call me before they’ve started filming and they need somebody to help walk them through the waters of sound, I do this for people.”

So, instead of waiting for calls from desperate filmmakers asking him to rescue them from a terrible sound issue, Jerry created his class.  He charges an hourly rate and will come out to the location or talk to the filmmaker in the editing bay. 

“I will say, look, do this and this, and it will help you avoid so many problems in the end.  And you can either bring it to me or you can bring it to any other sound post house who will be so grateful that you did this the right way.

“Remember five years ago, everybody had a department. Everybody was an expert in their department, so editors knew how to do this. Directors knew how to direct sound. People knew how to capture location sound and prepare for sound, post. People knew how to edit and, and deal with the audio and the post-process.

“But with one person wearing so many hats, you’re getting all these gaps in knowledge. The people that are wearing all these hats should really reach out to experts in every department of filmmaking and say, look, just give me a few hours, tell me what I’m doing wrong, let me fix it and then I’ll get back to you in three months when I’m done with my edit.”

You can reach Jerry Deaton at AudioKut.com.  You can send him an email at Jerry@audiokut.com or call 818 434 2601. 

His vision of the new Hollywood has connected him with many like minded independent film makers and support teams.  They understand big budgets do not necessarily make great films. It still takes talent, a good story and an artisan approach to technology.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

Win, Shoot, Get Film Score with Roy W. Dean Grant

Roy W. Dean Grant for Fall Offers Cash and Production Services Including Music

Roy W. Dean Film Grant for Fall

Production team from Roy W. Dean Grant Winner “Raise Hell: The Life and Times of Molly Ivins”.  Film Will be in Theaters in September Across U.S.

The final Roy W. Dean Film Grant for Fall 2019 offers indie filmmakers a prize that should be music to their ears as well as their audience.   The winner receives $3,000 cash, $30,000 in film services to shoot and finish their project, including a film score! 

Award winning composer David Raiklen will give the grant recipient $15,000 in theme music for their project.  David provided music for the Emmy and Roy W. Dean Grant winning documentary “Mia: A Dancer’s Journey”. In addition, Emmy award winner Charlie Canfield will donate $6,000 in animation services to the winner.

The Roy W. Dean Grant for Fall

Now in its 27th year, the Roy W. Dean Film Grant seeks films that are unique and make a contribution to society.  Projects can be documentaries, short films, features, or web series. Deadline for submission is October 31st, 2019.

Other prizes include a one week DSLR camera package rental from Birns & Sawyer, $500 in expendables from Filmtools, a 20% discount on the design of your marketing sheet by award winning designer Dan Chapman, and much more from many heartfelt donors

Each Applicant Gets a Consultation on Their Project

Another unique part of the grant is each applicant for the grant is given the opportunity for a 15 minute consultation on their project from a member of the non-profit From The Heart Productions which sponsors the grant. 

More information about the grant can be found at https://fromtheheartproductions.com/roy-w-dean-film-grants-and-awards/

You can apply for the grant at https://fromtheheartproductions.com/grant-application-form/.  

For more information, please email info@fromtheheartproductions.com or call 805-984-0098

About the Roy W. Dean Film Grant 

Founded in 1992, the Roy W. Dean Grant seeks films that are unique and make a contribution to society that, without it’s help, might otherwise not get made. There is a Spring, Summer and Fall Grant. Films submitted to the grant can be short films, documentaries, features, and web series from early stages of pre-production to those needing help in post.

The grant has been integral in helping talented artists with great stories get their films produced. Recent past winners of the grant include the award winning “Heist: Who Stole the American Dream”, “Kusama-Infinity”, and Emmy winner “Mia: A Dancer’s Journey”.

About From the Heart Productions

The 501(c)3 non-profit which sponsors the grant was founded by Carole Dean in 1993 when she saw how many filmmakers with important and often controversial stories were having trouble getting financing for their films. The mission of From the Heart Productions is to educate and assist filmmakers in getting funding to create unique films that make a contribution to society.

Under their fiscal sponsorship program, From the Heart Productions offers advice and guidance to filmmakers looking to fundraise. It also allows donors to projects to get a tax deduction for their donations. Their Intentional Filmmaking Classes which teaches filmmakers the tactics on how to get funded is now open for enrollment. New classes start Sept 23rd.

Changing Your Money Mindset to Fund Your Film

It starts by rewiring our money programming, removing money blocks, and igniting your money super powers

by Carole Dean

With over 35 years of vast experience in the corporate, government and entrepreneur sector, Olympia Hostler loves her work helping ambitious women who want to work less, make more, and live free.  Her “Mind Over Money Makeover” program is designed to help high-achieving women realize their wealth potential.

money mindset

Are you stuck with scarcity mindset that is sabotaging you and stopping you from seeking the funding you need?

“Once women ignite their money super powers, wealth shows up in a steady flow and in more ways than they could have imagined,” she told me when she was a guest on my The Art of Film Funding Podcast

She shared with me the secrets and methods she gives her clients to help them create wealth and thrive by changing their money mindset.

It’s Not Enough to Will It

She was quick to say that using will power or brute force does not work.  Change has to happen at the source to get the results and wealth you want.  The source of “money blocks” is our internal programming and usually that is imparted on us by our well-meaning parents, friends, family and the media.  We often take on what they believe.

Another change she adds that we must make is removing old conditioning that we did to ourselves.  When we have certain experiences and we draw conclusions and we make rules, that becomes our conditioning that we put on ourselves.  And most of us adopted our parents’ beliefs, thoughts and habits, because, it is a primal instinct. The question is, she asks, is are these conditionings working for you?

Unblocking Your Money Beliefs

Olympia says that money blocks come from a money programming process.  It is the programming we get from our parents, authority figures, society, media and friends. This programming becomes a self-sabotaging virus and affects all areas of our life. This feeds into having false beliefs, limiting decisions, unprocessed fears and faulty conclusions. 

These limiting beliefs exist on three levels of our being; our body, mind, and heart.  You must shift all three of these back to your “factory settings” to transform your well-being, your health and your wealth. 

Resetting Your Programming

“This is where you undo the years of dangerous programming and get to be yourself again.”

She says we need to realize that the mind controls our behavior, thoughts and emotions. That the heart is responsible for love, gratitude, receiving, connection and support, compassion and community with other people. That the body holds stuck emotions, traumas, stress and fear that affect our physical health.

“You remember that deep person inside who is full of joy, hope and love, that person for whom things come easily and naturally for sustainable wild wealth. It’s when the magic comes back to you and wealth shows up in your life in big ways and in ways that you could never have imagined.”

Changing the Scarcity Mentality

Money myths are lies that Olympia believes our scarcity mentality feeds us and we accept as true.  It’s your scarcity mindset that is your self-sabotaging, inner programming that is holding you back and keeping you small.

She explains that its our scarcity programming that feeds us & we accept scarcity as truth.  We think that there will never be enough whether it is success or money.  This keeps us stuck and holds us back from living our lives on purpose with passion.  It stops us from sharing our gifts w/the world and other people who depend on receiving our gifts to fulfill their purpose.

They are the basis for thinking and behavior that makes us say NO to a lot of opportunities and not even recognize some opportunities. We also say YES to things that do NOT serve us, keep us busy and distracted from our greatness.

Meditation

Another way Olympia advises that we change our thinking is through meditation, aerobic exercise, and novelty.

Meditation is super important to keep us mentally, emotionally and physically clear; relieve stress; improve our health; receive guidance; regulate our nervous system and so many more countless benefits.

“In meditative states, we go into our theta brainwaves which lowers stress and anxiety levels, as well as facilitates healing and growth.  Meditation is a single pointed focus, you can do it while walking, and at any time.  You are most productive when focusing on one thing. 

“For best results – it is imperative that we prioritize goals and tasks – then do them one by one.  We are so much more efficient, productive, happy and healthy that way. Twenty minutes is the ideal meditation.

“Novelty is learning and experiencing new things as well as doing the same things differently or changing your habits.”

Being a BFF with Money

Olympia teaches, “You can change your relationship with money to be your BFF.  In my online course, I call this section ‘For the Love of Money’. Changing your relationship with money begins with believing it’s possible.”  

What actions, thoughts, fears, … are standing in the way of being BFFs with money?  Olympia suggests asking yourself if you knew you would succeed beyond your wildest dreams, what would you do, be, or have? If you knew you could not fail, what would you be, do or have?

Would it be what you are doing now?  Something different?

She advises to give yourself permission to be wealthy right now. Commitment starts the snowball.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

Roy W. Dean Grant Finalists Named for First Grant of 2019

25 Films Still in Competition for Grant Valued at $30K

From The Heart ProductionsRoy W. Dean Grant Finalists has announced the Roy W. Dean Grant finalists for its Spring 2019 grant.  One of the oldest grants in U.S. for independent filmmakers, the grant is awarded to a film that is unique and makes a contribution to society.  The winner will receive $3,500 cash and thousands more in donated production services from film industry professionals and companies.

“It is always a joy and honor to review all the incredible projects submitted from such talented filmmakers.” said Carole Dean, President of From the Heart Productions. “It was not easy choosing finalists from so many life changing and world changing stories that all need to be told.”

Finalists include documentary films, feature films, web series, and a short film.  These finalists will now go to the judges to determine winner.  The announcement of the winner is expected in September.

List of Roy W. Dean Grant Finalists

TITLE                                                              FILM TYPE           SUBMITTING FILMMAKER

 

El Cadejo Blanco                                               Feature                        Justin Lerner

Pave the Road                                                  Documentary                Kelly Mason

Underdogs                                                       Documentary                Ashia Lance

Girls Are Strong Here                                        Short Film                     Scott Burkhardt

El Susto (The Shock)                                         Documentary                Karen Akins

Women Behind the Wheel                                  Documentary                Hannah Congdon

Made: Meet Me At the Assembly Line                  Documentary                Janette Chien

Scared to Debt:America’s Student Loan Scam      Documentary                 Mike Chamoin

Assisted Living                                                  Web Series                    Amanda Bullis

Perma Red                                                       Documentary                 Maya Dittloff

26 Seconds                                                      Documentary                 Kelly Galindo

Shway Shway                                                   Web Series                    Rachelle Hair

Lady Long Rider                                               Documentary                  Wren Winfield

Donnie                                                            Documentary                  Anna Augustowska

The MicroCosmic Cartoon Show                         Feature                          Prema Rose

Ground Zero: Ferguson                                     Documentary                  Partick Hamm

The Weeping Season                                        Documentary                  Alexandra Hildago

Lady Madonna                                                 Documentary                  Chris Cloyd

90291: Venice Unzipped                                   Documentary                   Colin K. Gray

Dawn Dusk                                                     Documentary                   Jason & Blue Gerber

The Sixty-Six Percent                                       Documentary                   Natalie Abruzzo

The Queen of the Lowriders                             Documentary                    Debbie Sanchez

Amara & Family                                              Feature                            Suman Hanif

Grounded: The Roots of the Revolution             Documentary                    Simon Geisker

La Recua (Saddling South)                               Documentary                    Trudi Angell

 

In addition to the  $3,500 in cash provided by From the Heart Productions the donations of film services and products include $500 in expendables, lighting or grip equipment from Filmtools,  a Glyph StudioRaid 6TB hard drive from Glyph Production Technologies, 40% deduction on color, editing, and sound & all production services from ProMedia NYC and more from film industry donors.

About the Roy W. Dean Grant

Founded in 1992, the Roy W. Dean Grant seeks films that are unique and make a contribution to society that, without it’s help, might otherwise not get made.  There is a Spring, Summer and Fall Grant.  The Fall 2019 Grant is now accepting entries.  Films submitted to the grant can be short films, documentaries, features, and web series from early stages of pre-production to those needing help in post. 

The grant has been integral in helping talented artists with great stories get their films produced.  Recent past winners of the grant include the award winning “Heist: Who Stole the American Dream”, “Kusama-Infinity”, and Emmy winner “Mia: A Dancer’s Journey”.  

About From the Heart Productions

The 501(c)3 non-profit was founded by Carole Dean in 1993 when saw how many filmmakers with important and often controversial stories were having trouble getting financing for their films.  The mission of From the Heart Productions is to educate and assist filmmakers in getting funding to create unique films that contribute to society. 

Under their fiscal sponsorship program, From the Heart Productions offers advice and guidance to filmmakers looking to fundraise.  It also allows donors to projects to get a tax deduction for their donations.  Their Intentional Filmmaking Classes which teaches filmmakers the tactics on how to get funded is now open for enrollment.  New classes start Sept 23rd.

A Good Colorist is the Wizard of OZ

When you realize what a colorist does, it’s easy to understand why no one knows they exist. 

by Carole Dean

Sam Dlugach won our Roy W. Dean Film Grant in 1996 and is one of the best colorists in LA.  He has over 30-years’ experience working with all types of films.  Sam works for a major production company, but moonlights helping indie features and documentaries. He generously gives us his time to serve as a judge for the grant and donates he services to the winners. 

Colorist

I recently interviewed him for my The Art of Film Funding Podcast and asked him how to help filmmakers understand how important a colorist is for their film. 

What Does a Colorist Do?

Sam equated the coloring of a film as the same as mastering is for audio. After a song has been recorded and mixed, then mastering is the final process before it goes to distribution. That’s like putting the final polish on your films’ audio. Well, that’s what coloring is for the image.

“We can take some beautifully photographed work,” Sam said, “and enhance it just that extra 10% or 15% to make it even more impactful in terms of emotion that we want the audience to feel.”

He explained that no matter what you’re shooting, whether you’re shooting a documentary, short film, or a feature film, you’re probably using multiple cameras, multiple lenses, and you’re going to certainly have all sorts of different lighting conditions. At the very minimum, what a colorist does is make all that stuff match.

Actually, when you realize what a colorist does, it’s easy to understand why no one knows they exist.  When they finish their job, the film looks perfect. Every single shot is lit perfectly, and all your shots match, each scene flows seamlessly, and the audience is fully engaged in the film never realizing all the work the colorist did.

Enhancing the Story and Setting the Mood

“In a more creative sense,” he noted, “I’m part of the storytelling process.  I’m helping the director and the director of photography set story beats in terms of the look of the film, in terms of the mood of the lighting, and the contrast ratio and certainly the color imagery.

“I have a day job where I work on TV commercials, so a lot of what I’m doing daily is emphasizing the product and de-emphasizing the background or bringing out people’s faces. There’s a lot of very specific stuff that I’m doing on a psychological level to direct people’s eyes.

“That same sort of artistry and science works in storytelling as well whether it’s episodic television, or a music video, or short film, or feature film, or documentary. Anything that I can do visually to help tell the story is my main job.”

 

 

Matching Scenes and Matching Visions

If filmmakers bring great footage, then the colorist can look great as well.  But many times, filmmakers have challenges on the shoot.

“They may have had problems with lenses, problems with cameras,” Sam explains, “or very different lighting setups from shot to shot that have to be evened out and made to match. It’s a collaborative process at best.  When you’re working with a team of people, if everybody’s got a singular vision of what this film is supposed to be, and everybody’s just working towards that one image, it can be a really great experience, and the rewards for the film can be great.

“I’ve always loved working with filmmakers and directors of photography because I work to achieve their vision.  And a big part of what I do is to interpret what I’m being told.  Some people come in, and they have a better understanding of what happens in the color bay, and some people really are intimidated, or they don’t understand the process.

“It’s my job to deal with all levels of filmmakers and all levels of people that walk into my room and understand what they are trying to tell me so we can find a way to achieve their vision.”

What First Time Filmmakers Need to Know about Working with a Colorist

Typically, after you finish your edit, you would send Sam a version of the edit with a decision list and it will refer back to your original footage.  He creates the edit timeline.  He on the Baselight system and uses a $40,000.00 monitor.  Sam sees everything with this monitor that your audience will see.

The first thing he does when he meets someone new is to talk about the story before he ever looks at the film.  Together with the director he makes notes of scenes and shots by writing down what they mean and exactly how they are telling the story.  They discuss the color journey of the entire movie.

Sam will look at the timeline of the move and talk to the director about the story.  The main question is “what is the story we want to tell?”  They will stop and look at shots of each scene.

“What is the emotional tone?” Sam will discuss with the director. “What are we going for here? How does this flow into the next scene? How does it relate to the previous scenes?” Sam and the director start very basically coloring from raw camera information to a finished look for that single shot.

By the end of the first session when the filmmaker leaves, they should have a good feeling about how the movie will look.  They will have seen scenes from all over the movie that tell the story they have painted together. 

The filmmaker goes away and Sam works for a week or two coloring.  When they come back, Sam will have filled in the holes, done the coverage, and stitched the film together.  Then, Sam watches it with the filmmaker and makes notes to do a trim pass and sometimes a second trim. 

Sam works with people outside of Los Angeles area.  He colored a fiscally sponsored film of ours in Hawaii.  You can transfer files very easily now so you don’t need to be in the same city as your colorist.

Seeking Passionate Storytellers

Sam loves working with independent and documentary filmmakers that are passionate and really have a story to tell.  

“In a perfect world I’m invested in that story too. I care about what they’re trying to say, and so I tend to gravitate lately to unique stories about human nature, about people.” 

Sam wants to work with filmmakers that have something to say about the times we are living in.  “I love working with documentarians because they’re usually trying to right some wrong. They’re usually trying to expose something that needs to be exposed.”

“I get a charge out of working on projects that make a difference, and so I do tend to be a little picky about the projects that I get involved with independently. There’s a great thing about knowing you came through from the Heart Productions. The people that gravitate to what you’re doing at From the Heart tend to be great people and tend to be impassioned storytellers with their heart in the game, and they’re not just in it for the money. They’re not just brazenly commercial. They’re doing something that matters.

Gift to Filmmakers at From the Heart Productions

“I’ve met so many wonderful people from the work that you’re doing (at From the Heart Productions) and from the outreach that you do with independent filmmakers.  I encourage people that are in your program, and your funding programs, and your writers that you work with and filmmakers that find you to come talk to me.

“My door is open, and like I said, advice is always free.  You can reach same at Samdcolor@gmail.com and the time to interview and hire a colorist is early on in production.”

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

How to Take Control of Your Film’s Financial Future

Conversation with award winning filmmaker Karen Day on the importance of being your film’s advocate and getting the upper hand with a film distributor 

by Carole Dean

Karen Day is a very successful writer, photographer, and filmmaker because she made it happen.  She is always working on creating a successful future for herself.  She focuses on humanitarian issues in exotic locales like Afghanistan, Cuba, Myanmar, pre-war Iraq, pre-Madonna Malawi, Hollywood, and Washington, DC.  They’ve offered her exciting opportunities to dodge bullets and write for national publications like More Magazine, O, The Los Angeles Times, and The Pentagon.

Film Distributor

Director Karen Day on location with cast and crew from “Nell Shipman: The Girl From God’s Country”

Winner as writer and producer of the Roy W. Dean Grant for Nell Shipman, The Girl from God’s Country, she joined me on my The Art of Film Funding Podcast.  She offered advice to independent women filmmakers just starting out on which we both agreed. 

While it’s important to seek out others for advice, independent filmmakers need to take active control of the future of their own work to have a successful career and to make any money.

The Harry Potter Effect

Karen says one of her real joys is being able to mentor women, young women beginning their career in filmmaking. “It’s a real tipping point right now in the industry. There’s so much opportunity. And it’s difficult to find a mentor.”

“But, Carole, you know better than anyone, and I think you’re one of the major voices in how to manifest and believe in yourself that you can get things done. I call it the Harry Potter effect. I put my mind to an idea and start whipping results out of the ether. I might as well have a master wand.”

This is very true.  Karen realizes that your faith in yourself and in your film is paramount to a successful production.  Your attitude towards yourself and your film must always be of the highest level as you deserve to be funded.  Belief and faith will carry you a long way in the film industry “and make doors open where there were no doors before.” 

The Dark Web of the Film Festivals

Karen was at Raindance Film Festival with her latest film Bamboo and Barbed Wire, a documentary that chronicles the life of a 17- year old Syrian refugee girl in Idaho.  She says that Raindance is a premier festival and they give filmmakers an amazing amount of support. There are distributors there from around the world.

But, she warns, don’t assume that just by getting accepted and networking will get you a deal for your film. 

“There’s a lot in the film festival world that independents still have to learn the hard way. You think oh, ’I’m going to get accepted, and then I’m going to be distributed, and then I’m going to be famous.’ No, actually, there’s a lot of innerness and I call it the dark web, the dark world of politics that goes on in film festivals.

“It’s a good way to meet people and make connections, but it’s not as simplistic as it appears. Film festivals and film distributors are in the business of making money on movies, and producers and writers and directors and cinematographers are in the business of making movies. And it’s a hard lesson to learn that there are two different businesses.”

She is right.  The distributors want to buy the film for the cheapest price possible and filmmakers think they will get prices near what was quoted in Variety for recent sales.  However, these prices are normally exceptional prices.  Distributors and Netflix and Amazon are paying low prices unless you have a known actor in a feature or a documentary.  In that case, it’s a bit higher but not what they were paying a few years ago. 

The information I get from our fiscally sponsored filmmakers is that by the time they get to a festival, usually they are tired from years of producing and are ready to let go of the film.  Once they get an offer, they are so excited that someone loves the film and wants to help, that they often make poor decisions.  Distributors are offering egregious contracts and very low up-front money these days. 

 

 

Finding Out What Your Film is Worth

Because of the horror stories I have heard from filmmakers about bad contracts, distributors not complying with contracts and people selling their film for 20% of the cost, I started a search for who is paying what for films.  That search turned into a blog.

It’s very important that we know the current selling price for docs and features. So, if you want to share any information on what the current prices are for films and docs, please contact me.  All info will be kept confidential.

Karen says that going to the festivals and talking to other filmmakers is the best way to find what happened to other filmmakers, what prices they were paid, who are the worst distributors and who to watch out for.  You won’t find this information in print, only word of mouth or in our blog talk shows where some filmmakers will offer up the truth about their poor distribution deal.

Find Leverage with a Film Distributor

Karen said that getting a distributor as an independent is not always what you thought it would be. Often, people think that a distributor will change your life.  You need to know what money you can make and you need leverage to negotiate.

“The one thing I can say is, if you do have a distributor that’s interested, immediately contact several distributors to see if they will be interested.  Because then, you have more power to negotiate a minimum guarantee.  Number one thing I say to independent filmmakers is, your MG, your minimum guarantee with the distributor may be the only dime you ever see.  So, make sure that you negotiate that.   And the best way to do it is to get more interest than one distributor.

“I did that, and so I was able to negotiate more money than I was originally offered. And I naively thought, oh, well, this is going to be a cakewalk now.  But what’s true is my distributor is in the business of making money on movies, and they’re like a shark. They have to keep moving to pick up more films and compete with all these distributors to find the next great documentaries.

Be an Advocate for Yourself

“I literally had to become a thorn. I’ve been working with the major network media for a long time, so I know what it’s like to push. And some people don’t have that advantage, because I’m older, too. It’s not like I’m 20. I’ve been around the block, as they say, about 4,000 times.

“The bottom line is, none of it’s easy. It was a daily process of what are you doing, what’s happening? Otherwise, you seep into the carpet and you’re thinking, oh, it’s going to happen for me. Mm-mm (negative).

“I can definitely say there have been a couple of great films. The great film Sonita, which is about the Afghan rapper who escaped an arranged marriage. Somebody was doing a documentary on her and they bought her out of the marriage.  It won an Audience Award at Sundance, and it was sold to PBS National.  I can’t divulge how much it was, but I would say it’s not enough to buy a used car.

“I really feel that the art of film negotiation is the number one thing, and the art of film funding. You have to be your own best advocate, and you just want to say, ‘Oh, I’m an artist.’ Well, you can be a starving artist all you want, but you better learn to be a business person too if you want to make a living at your art.”

 

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

Creating Miracles Begin When You Believe in Yourself

Yes, miracles do happen that can help you fund your film.  It begins with using the power of your mind.  

by Carole Dean

In our bi-monthly Film Funding Guidance Class for our fiscally sponsored filmmakers, I’m in the middle of a 6-part series on how to begin creating miracles in your life.   Your mind is your greatest asset and knowing how to use it is the key. 

Creating Miracles

You should brag about your achievements.  Be very proud of what you have done and don’t be afraid to tell us.   

In our most recent session, I covered the importance of having a positive self-image and the need to treat yourself with respect.  Miracles won’t happen in an environment filled with negativity and doubts. 

Here are some steps you can take in your life to creating miracles. 

Never Put Yourself Down

Always hold yourself in the highest esteem.  Muhammad Ali was asked to give a short poem about himself.  He said  “Me….Wheeeee”  So take a lesson from the champ and tell yourself daily “I am the greatest.”  It worked for Ali and it can work for you.

If you are late for a meeting, never put yourself down to anyone. Not even you!  You are the film, you are the creator, the manifestor and you must love you.  With all your heart and soul.  Love you first then you can give that love to others through your brilliant heart chakra.

I want you to honor yourself.  Honor who you are and give gratitude for your many talents.  I talk to filmmakers daily and they are writers/directors, some are writer/producer/editors.  Loving yourself is highly important to let miracles come to you. 

Know You Are Worthy

Sometimes miracles come in the form of money.  This where a lot of people stop incoming money and miracles because they don’t feel worthy.   I want you to brag about your achievements.  Yes, be very proud of what you have done and don’t be afraid to tell us.   

Each day when you look at your to do list and perhaps you had 10 items to do that day and you only completed 3 say “Good job, this is wonderful.” 

Compliment yourself and say “tomorrow I will complete even more and it will be effortless.   The universe is helping me with the film, they are my invisible partner, clearing problems and making my efforts complete easily.” 

Stop Asking How

Another step that stops people from receiving miracles is the “HOW”.  We all want to know how will it happen, where will it come from.  That can be a block for many people.  This How will it happen, will act as your resistance to receiving and believing. 

Your job is not to think about the “HOW”.  Your job is to know it will happen and do all the things you know to do to make it happen. By believing it will happen, you are totally open to receive. 

Seeing is Believing

The next step to receive miracles is my favorite, it’s visualizing.  It’s the ability to pretend like you did when you were a child when you wanted something.  Often you got what you wanted and that was partially because you were visualizing it daily. 

Remember when you would think about what you were getting and how excited you could get just by the visualization of receiving and using it?  You were sending joy and excitement and gratitude to the universe when you saw yourself receiving it.  Emotions with visualizations are paramount to receiving.  Emotions are the key to visualization. 

I have had many filmmakers call me when they are crowdfunding and say, “I am only a few days away from the deadline and I am $6,000 short or $4,000 short I don’t think I can make this goal.”  That’s when your visualization is a great asset. 

All of the people that called me in such a panic listen to me and they all hit their goals.  It’s very easy.  You need to focus on the end result.  See yourself with what you want and send up joy, success, gratitude and happiness.  Do not, get into the how….just visualize you with what you want achieved. 

Feel the success and know you deserve this and are worthy of it.  Visualization is the icing on the cake. It will take you home to any goal and definitely any miracle.  Please include these things in your daily life. 

Daydreaming is In!

Visualize what you want on a daily basis, daydreaming is in! 

Fred Alan Wolf said in an interview with me, that daydreaming is a handshake across time where once you see it, feel it and send that vision to the universe you are creating your future.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.