“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.

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.

What is Your Unique Selling Point?

In advertising and marketing, they call it your USP.  Finding your Unique Selling Point is what will set your film project apart and make it stand out from all your competitors.

by Carole Dean

Heather Hale is a film and television director, screenwriter, and producer with over 60 hours of produced content, including 20 brand new episodes of the television talk show Lifestyle Magazine.  She joined me on my The Art of Film Funding Podcast to talk about her brilliant new book, Story Selling: How to Develop, Market and Pitch Your Film & TV Projects

Unique Selling Point

“What are you doing that’s fresh and different, that we haven’t seen before, that makes this film stand out?”

Heather believes a great pitch is the key to raising money for your film and it must include your USP (Unique Selling Point) to be effective.  She discussed how filmmakers can define and create their USP then maximize it to win investors and an audience. 

What is the Unique Selling Point for Filmmakers?

For filmmakers and content creators, Heather says that ideally your USP is in your log line. “Simply elegantly, and above all quickly conveying what will compel your target audience to pay to view your film or TV show.”

How Do You Find Your USP?

“It’s what’s fresh and different about your film that we haven’t seen before,” she advises. It could be your unique point of view, your unique subject matter expertise that you bring, or your frame of reference.  It could be the way you’re telling the story as there are many non-linear story telling techniques now.

“What are you doing that’s fresh and different, that we haven’t seen before, that makes this film stand out?  Think of films like This Is Us with the two parallel story lines, and even Jane the Virgin.  It’s a telenovela, but we’ve never seen anything with that kind of fun, tongue-in cheek, campy style.  Ask yourself, ‘What makes your film fresher and more relevant to today’s audience?’”

Your USP is what bonds your film to your audience and builds rapport. She offers Game of Thrones as an example.

“There’s so much social media discussion over that, because people root for it, they get emotionally engaged.  What is your point of entry that makes for rabid fans? Viral is not a business plan, you can’t make something go viral, it has to catch on.”

How to Build the Spine of Your Log Line

A simple way to build your log line, Heather suggests, is to start with the six questions journalists have used since the beginning of news to tell a story.  “Sometimes they call it the five W’s, who, what, where, when, why, and sometimes how. It’s the inverted pyramid that inherently forces you to stick to the spine of your story. So, you start with the most compelling details first before funneling down to the rest of your pitch.”

“For example, who is the main character. It’s the protagonist. It’s also who stands in his or her way, the antagonist.  Sometimes this could be a what, like an antagonistic force, but you’re always better if that is personified as a who. Next is what happens to him or her? That’s your catalyst or inciting incident.

“’What’ could also refer to what he wants or she wants.  What is the protagonist’s goal and what is the problem? What’s the conflict? What are the obstacles and stakes?  The climax is the most important what. It’s the most important moment in the script. The where and when is where the story is set, the story world, the milieu or the backdrop. That should influence all the other elements of the script.

“How does the main character overcome all that adversity? Well, there’s your plot. How does your protagonist or other characters evolve psychologically?  There’s your transformational arc. How does he or she resolve the conflict?  That’s how your story ends, which drives back to your climax. Ultimately, the why is why should we care?  That’s the theme. So, I often think the plot is what a story is about, while the theme is what the story is really about, the undercurrent.”

“Why do we care? That’s the theme. Yeah, why? Why would I watch this? Why would the protagonist put him or herself through all that? That’s the why, the driving force, the theme. And typically, your plot, and your character arc are a metaphor for that theme.”

How Important is Your Log Line to Selling Your Project?

“It’s critical.  It’s everything boiled down to that one sentence and it’s sometimes all that anyone will hear. And it’s what gets pitched over the phone, across the credenza, across conference room tables. In markets and meetings, that’s one line that people will use to default to. So, you want to be the one who’s crafted that perfectly.”

 

 

Log Lines with Irony Create a Great Sales Pitch

When watching a movie or a television show, Heather notes, viewers like to proactively add two plus two for themselves, to try to figure out the mystery, to figure out who will end up with who, second guess the plot, and the antagonist’s plan.  

“So, just as you try to make the script an engaging fun read, you want to allow the story to unfold similarly for your pitch listener. So, when the log line is an intriguing puzzle to solve, and inherent in that conflict is the juxtapositions of irony, that’s the arc that launches this inevitable climax, and it shows what the character arc is going to be.

“Irony not only is fantastic in a log line, it’s a really terrific re-writing tool, because you can work backwards and forwards from log line to script and back again, minding the collision of sub-text to explore maybe missed creative opportunities, and where you could be pushing boundaries. It would be more obvious about what the character has to learn and overcome. It would be more obvious about the contrast between characters. That irony is a really critical.”

Your Log Line is Like a Great Reduction Sauce

“I don’t know if you’re a cook or a foodie, but a reduction sauce could be a sweet sauce drizzled over a dessert or a savory gravy dolloped over protein or vegetables.

“It starts with this huge terrain of raw ingredients, like your screenplay, like your documentary, like your reality TV show. Whatever it is, you have this huge amount that is slowly boiled down over time, reducing each flavor to its core essence. And then ultimately strained into this rich, dense, fully saturated, but completely original new puree, and that’s your log line.

“So, if you see a Broadway musical or an opera, the overture reveals snippets of all the music and moods to come, and the log lines are this alluring tease. It’s a synthesis of all the essential ingredients. So, writing that log line is like a microcosm of your script. Just as editing a moving piece of content. I think reverse engineering backwards and forwards enhances both. One informs and improves the other.”

The Importance of a Great Tag Line

Tag lines are understood within the context of the title and the log line, and when they’re accompanied by key art, they give you the whole picture.  Film is a visual medium and tag lines help viewers or readers understand the whole picture in an instant.

“If you remember the Social Network, about Facebook,” Heather gave as an example, “the tag line was, ‘You don’t get to 500 million friends without making a few enemies’. That sets up what some of the conflict is in the world. I had a bunch listed in the book. Chicken Run; ‘Escape or die frying.’ That’s a pun that also shows you the stake in the film.

Tag lines just allow you to give that extra angle or that extra twist.  Heather suggests to look on IMDB at a comparable project and look below the storyline and you’ll see plot keywords and tag line. And you can click to see what are the project’s tag line.

“What were the keywords that they used and then brainstorm using other people’s tag lines. Not remotely are you cloning or stealing or using someone else’s idea, you’re just looking at different angles to push it to see what’s been explored or not explored. It can be a really rich fertile territory for brainstorming.”

 

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.

5 Steps to Making a Great Film

Roy W. Dean Grant Winning Filmmaker Jason Smith Shares The Advice He Gives Filmmakers That He Mentors

By Carole Dean

Jason Smith’s Documentary “I Voted” Was Selected to the 2016 Tribeca Film Festival

What makes a great film? Jason Smith, who directed the Roy W. Dean Grant winning documentary “I Voted”, has some definite thoughts on this. Jason has worked as a voice over artist on over 100 films including Avengers: Infinity War, Thor, and Deadpool. He also mentors’ filmmakers.

Jason was recently a guest on my The Art of Film Funding Podcast.  He listed what he considers are the 5 “Be’s” necessary for a great film.

 

Be You. – There’s Only One You

Nobody can make a film like you because they’re not you. Nor can you make a film like someone else. You will always be your own best advocate so you might as well be first in line for your own fan club.

“That doesn’t mean being egotistical, obnoxious and self-centered” explained Jason. It simply means having a sense of confidence in what you do. It also means digging deep in creating content that resonates with you – because if it doesn’t resonate with you, it won’t resonate with others.

Be Open. – Change is the Only Thing That is Constant

“The best laid plans usually turn into something else” Jason quipped. Sometimes change is fortuitous, frequently it’s not. But it is inevitable and it will impact your project at every stage of your endeavor. So, flexibility is paramount. The ability to adapt is integral to success.

Be Resourceful – In Independent Filmmaking One Often Has to Cut Corners Using Borrowed Scissors.

You will most likely be asking for favors and assistance. Pay people when appropriate (which is most of the time) and respect their value. You may not be able to pay market value to professionals but pay them something.

And if you cannot come up with the funds to make your film, ask yourself if you’re presenting the project in the best light. Maybe you’re not attracting others because you haven’t fully fleshed out what you’re doing.

Be Passionate. – Showing Up is a Big Part of Any Filmmaking Venture.

“If you’re convinced, you’re making the greatest film ever, figure out how to share your vision with others” he advised. By convincing others thru your passion, you will build a team and a community. Those are necessary components for the success of your film.

“Convincing people thru passion is necessary for any artist, especially when the art is in the conceptual stage.” You will need to convince others of the value of your idea. Then, you will need to convince audiences thru your execution that your great ideas are up on the screen.

Be Honest. – While Telling the Truth is a Good Way to go Thru Life.

“Yes, you want to be honest with others and not lie. However, we sometimes lie in life – it’s part of the human condition. And the most important human that we should never lie to is…ourselves.” Jason noted.

When we lie to ourselves about our film, we run the risk of making an expensive awful mess that will lose money and damage relationships. The list of lies we can tell others runs long, and the list of lies we can tell ourselves runs even longer.

 

The Art of Film Funding PodcastCarole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit that offers 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.

 

Using Your Subconscious to Manifest Your Film

By Carole Dean

By using the conscious mind to impress a belief on the subconscious with feelings and visuals (and using every fiber of your body), it causes the subconscious to accept that belief as truth.

 

SubconsciousWhat do you think of those people who get up on stage at the Academy Awards to accept an Oscar and say that they’ve been dreaming about this moment since they were kids?

You rolled your eyes and laughed, right?  

Well, believe them.  They used their conscious thoughts to manifest and create their success.  You can too. 

The Law of Consciousness

Consciousness, believes noted physicist Amit Goswami, came first in the beginning of time. First, it was consciousness and from that all things evolved.

The knowledge of the law of consciousness and the method of operating this law allows you to accomplish all you desire in life.  This is the philosophy of many wise people. 

However, first you need a working knowledge of this law.  Then, you can build and maintain a great life, an ideal world for yourself.

The Conscious Generates Ideas

“Consciousness is the only reality”, said influential teacher and author Neville Goddard.   Neville states that consciousness is personal and selective where subconscious is impersonal and non- selective. 

Neville believes that the conscious generates ideas and impresses ideas on the subconscious.  Also, he says that first conceiving an idea and then impressing the idea on the subconscious allows all things to evolve out of the consciousness.  

This is the only way, he posits, to create your future and bring to you the future you want.   Because the subconscious does not originate ideas, it accepts as true those which the conscious mind feels to be true.

This is the heart of the matter.  

Getting An Award in Your Hands

Remember when those who win also say they “feel the joy and excitement of being on stage receiving this award?”

That is the result of the conscious impressing on the subconscious the future they intended to create.  By doing that, it becomes a reality.

I think this is a powerful concept.  By using the conscious mind to impress a belief on the subconscious with feeling and visuals (and using every fiber of your body), it causes the subconscious to accept that belief as truth.   

This is how you manifest.  This power to imagine and feel is original for humans.   

Using Your Feelings to Influence Your Subconscious 

You can get control of the subconscious through your control of your ideas and feelings.

What you feel and see the subconscious believes.  This is a gift that we all have.  It is important to understand that what we see and feel, our subconscious believes.

What is it you want to achieve? The first thing that we want you to do is set goals. You want to visualize and feel your goals in order to achieve them.  

Consciousness creates the vision and the subconscious believes it’s real. Because your subconscious mind does not originate an original idea, it accepts as true those which the conscious mind tells it.

The next important thing to realize is that ideas are impressed on the subconscious through feeling.  The filmmaker that envisioned winning the Academy Award visualized being onstage accepting the award and giving his/her speech. 

It’s the energy in the feeling that creates the future.  Your feeling is the most powerful medium that you have to get your ideas to the subconscious.  If you’re not in control of your feelings, you could easily be impressing the wrong things on your subconscious and bringing about things in your life you don’t want.

Feelings Can Determine Our Future

Feelings are the greatest form of manifesting that we have as humans. We actually have the ability to bring our future into the present through our feelings.

Focusing on what you do want and feeling like it has already happened tells the subconscious that this truly exists.  The only thing that would stop this is if it is counteracted by a more powerful feeling that it doesn’t exist, like disbelief, fear or anger.

If you are seeing yourself getting your Academy Award and you are fearful, then the chances are your vision may not happen.  If fear was the more dominant feeling,  then you have just nullified your vision.

Create a personal goal that you know you can achieve and a time limit that feels right to you.  For example, you may need a great editor.  To get that great editor, why not start saying, I love my editor. I chose the perfect editor.

Do this with the emotion of joy, success, achievement happiness and contentment.  Feel very proud of yourself feel very confident that you have the right editor.  

You want to live it, feel it and see it. Know your vision is coming through your feelings.  Remember that all creation happens in the subconscious.  What you must do is get control of your subconscious through your ideas and your feelings. The subconscious doesn’t care if you were telling of the truth or not it excepts as true what you feel to be true.

Use your mind to fund your film.  Your mind is your greatest asset in film funding.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers 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 Spring 2017 Finalists Named

Roy W. Dean Grant Spring 2017 Finalists21 films that are unique and make a contribution to society were named as Roy W. Dean Grant Spring 2017 finalists.  The grant is offered by From The Heart Productions, the non-profit dedicated to helping filmmakers get funding.  The winner will receive $30,000 in a combination of cash and donated services from film industry professionals and companies which support independent filmmakers. 

“We are very fortunate to have so many filmmakers exploring stories and ideas that look to change how we view our world.” said Carole Dean, President of From the Heart Productions. “These finalists highlight the passion and dedication of the hundreds of applications we received.”

A record number of 345 films were submitted to this year’s Roy W. Dean Grant for Spring from across the US and around the world.  Entries were received from France, Mexico, Australia, Japan, Canada, and the United Kingdom.  The projects included features, short films, documentary, and web series. 

View overview of project summaries and filmmakers for the Roy W. Dean Grant Spring 2017 Finalists which include:

American Justice on Trial: People v. Newton (Documentary)      

Belly of the Beast (Documentary)

Bruce the Challenge (Feature)

Flight of the Dodo (Short)

Grace (Documentary)

Imagemakers (Documentary)

L (Feature)

Louder Than Thunder (Documentary)

Restoring Balance: Autism Recovery (Documentary)

Rising Up to Climate Change: Storytelling with Saris (Documentary)

Stoke (Feature)

Stranger At Home (Documentary)          

Stunt Life (Documentary)

The Creative High (Documentary)

The Last Amendment (Documentary)

The Real Thing (Short)

The Roar of a Lion Cub (Documentary)

What If (Short)

Yellow is Forbidden (Documentary)

Yoshi: Wake Up With Me (Documentary)

Now in its 25th year, the Roy W. Dean Grant seeks films that are unique and make a contribution to society that need help getting started or completed.   Out of this group of 21 Roy W. Dean Grant Spring 2017 finalists, a smaller group of 4 to 6 finalists will be selected by our judges.  From that group will come the winner of the Roy W. Dean Grant.  Winner is expected to be announced in late September.

This year’s grant winner will receive $3,500 in cash provided by From the Heart Productions and donations of film services and products from film industry professionals and companies.  Some of which include a 1TB G-Drive from G-Technology, a 30% discount in equipment rental from AbelCine Tech, Inc. NYC, 40% deduction on color, editing, and production services from ProMedia, and much more from heartfelt donors those who care about helping independent filmmakers. 

About the Roy W. Dean Grant

Founded in 1992, there are 3 Roy W. Dean Grant every year.   There is a Spring, Summer and Fall Grant.  The Fall Grant is now accepting entries and closes September 30th.  Films submitted to the grant can be short films, documentaries or features from early stages of pre-production to those needing help in post. 

The grant is 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”, “The Brainwashing of My Dad”, and Emmy winner “Mia: A Dancer’s Journey” which just won an Emmy award.  

About From The Heart Productions

The 501(c)3 non-profit was founded by Carole Dean when she saw how many filmmakers with important, new, and often controversial stories were having trouble getting financing for their films.    From The Heart offers fiscal sponsorship for films which allows donors 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.  Classes start September 30th

Receiving Miracles 3 – Learning to Forgive

In Receiving Miracles 3, Carole Dean Covers The Final Step You Need to Take to Receive Miracles in Your Life and Your Filmmaking

Forgiveness can be one of the most powerful healing tools

In Receiving Miracles 1 and 2, we covered 6 things to improve your life and that will open you for receiving miracles. 

First, was about giving gratitude daily for the many things you have. 

Second, we learned how powerful your words are and to remember to watch your thoughts because they become words.

Third, was to hold yourself in the highest esteem at all times

Fourth, love yourself.  Praise yourself daily for the smallest thing you do.

Fifth, when you ask for a miracle don’t worry about the “HOW”! Focus on your to do list to achieve a miracle.

Six is visualizing.  It’s the ability to pretend like you did when you were a child. I want you to pretend you already have what you want….that is powerful.

Now, I want you to forgive.

Hoʻoponopono

There is an ancient Hawaiian ceremony called hoʻoponopono that is a powerful tool for transformation.   It can clear your DNA.  It can clear your lineage for 12 generations back. 

The word hoʻoponopono means “to set thing right.”  You do this by connecting to the source within you and accepting responsibility for choosing and creating this life.

Forgiveness can be one of the most powerful healing tools. Letting go of old hurts brings new energy and vitality to everyone.  Forgiveness-Hawaiian style teaches us to forgive not only in the moment but all the way back to our ancestors. The past is cleansed and our future is made free.

Hoʻoponopono is a practice of making things right and restoring the natural flow of life. We use it to release old hurts and painful memories, realigning one’s self with Spirit to strengthen our awareness of God within.

Four Short Sentences

I love you.  I am sorry.  Please forgive me.  Thank you. 

You want to repeat this dozens of times daily for the situation you want to mend or for things you want to achieve.  With them you can break down any barriers. 

I love you.  I am sorry. Please forgive me.  Thank you. 

These magic words will help you forgive anyone or heal altercations.  They will help you find answers to problems you face.  They can be used to help you heal your body. 

They can be used in emergency situations to resolve an issue.  They can be used to make your film.  To help you attract the right crew, to help you find the right scripts or to find the right subjects for your documentary film.  These words can be used to help you fund your film. 

I suggest you work on yourself first, keep forgiving yourself and visualize any problem solved.  Say these words with conviction and mean them.  Using this magic prayer can release hidden blocks in you, can help heal your body, heal your relationships and heal your film.

I love you, I am sorry. Please forgive me.  Thank you.

Please write these down and begin saying them daily.  Know that you can work on any part of your family or work on any resistance that keeps you from achieving your desires.  Your life will improve with forgiveness.  Please use this brilliant tool to improve your lives and create your film.

I want you to expect a miracle.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcast, The Art of Film Funding, interviewing 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.

Don’t Panic: Art Neill of New Media Rights Explains Fair Use

Carole Dean Interviews Art Neill on His New Legal Guide Book For Small Businesses Creative Professionals 

 

I interviewed Art Neill on my Art of Film Funding podcast about his brilliant book, Don’t Panic : ) A Legal Guide (in plain English). Art works with New Media Rights which is a non-profit, independently funded program of California Western School of Law. They provide legal services, education, and public policy advocacy for creators, entrepreneurs, and internet users. They worked with Dianne Griffin and Erica Jordan who are fiscally sponsored by From the Heart for their successful film, Painted Nails.

New Media Rights is also offering From the Heart readers a special 20% off Don’t Panic for a limited time. Use the code “by using this code “EHCBPZHD” at this special link to get a discounted copy.

I recommend the NewMediaRights.org website for information and I especially recommend this information packed book.  Art and his team at New Media Rights are specialists in fair use and an excellent source for filmmakers.  They have an APP that you can use for free that will interact with you on what is fair use and what is not.  Plus, they take on fair use cases at a reasonable fee.

Art explained “transformation” of material saying that although it’s not defined in the copyright law, transformation typically means to use or alter an original work, to provide new meaning to your message. The more you transform the original work to have a new voice message or meaning the more likely it is to be transformative and the more likely it is to be fair use. So, what does a transformation look like?” Here are a few samples:

Art Neill explained the Buffy versus Edward Twilight remix video by Jonathan McIntosh. “This is a particularly great example of fair use because McIntosh takes a series of very small clips from the entire Buffy the vampire slayer TV series and mashes it to gather with tiny bits of the twilight movie to create a new original story, changing the message of the original clips from stories about vampires to a cultural critique of gender roles in vampire pop culture.”

“Pretty woman” by 2 live crew

“The rap group 2 Live Crew reused the guitar riff and some of the lyrics from Roy Orbison’s Oh Pretty Woman to create a parody of the song. This particular parity is an excellent example of fair use not only because, as the court put it, ‘juxtaposes the romantic musings of a man whose fantasy comes true, with degrading taunts, a bawdy demand for sex and a sigh of relief for parental responsibility,’ but also because of the socio-economic and racial juxtaposition between the two songs.

Reusing something in a transformative way is critical to a finding of fair use! If your reuse is not transformative it is unlikely that you will be considered fair use unless all of the other factors are in your favor.”

Information taken from Don’t Panic:) sold on Amazon $14.99 or Kindle $9.99 or NewMediaRight.org

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcast, The Art of Film Funding, interviewing 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.

 

Who is Your Audience?

by Carole Dean

Who is your audience for your film? It’s a common question that we ask of independent filmmakers submitting their documentary, feature, or short film to the Roy W. Dean Film Grant. 

We find that 80% of our applications cannot correctly answer this important question. 

Who is your audience? Don’t say “everyone”!

What Do You Say When Asked to Describe Your Audience?

Some who submit to the grant say “my audience is ‘everyone’” (which I encourage you not to do).  Grant judges will drop your proposal like a hot potato!

Some say “men and women from 18 to 48.”  That’s too broad.  We want to know everything possible about this audience.  If you had a description for your typical audience member like a “soccer mom in Indiana”, we would love it.

Why should you get so up-close-and-personal and know who is your audience and know as much as you can about them?  Your money for your film is now in their hands.  You will need to get dollars from them for research, for production, and again for post.   Plus, they will pay to download your film and probably help you put people in seats for theatrical on demand.

Ok, Carole, How Do I Find My Audience for My Upcoming Project 

Start by getting to know your present audience.  That is people in your database from different walks of life, who are not filmmakers, and who love the subject of your upcoming film.  Be sure it’s not family or close friends, you want information from people you don’t know.

Here are some questions to ask:

  • What social media platforms do you hang-out on?
  • Where do you engage with people online?
  • What kind of news do you pay attention to?
  • What kind of music do you listen to?
  • What blogs do you follow?
  • What organizations do you belong to?

Knowing what organizations they belong to gives you an idea of what organizations you can join and you can begin to chat about your film online to expand your data base of names.

  • How do you spend your free time?
  • When you watch movies, how do you watch them? Do you go to the theatre?  Do you watch movies only on your laptop or your mobile phone?

How they watch movies may mean you don’t need that expensive camera and you can reduce your budget.

With the answers to these questions, you begin to understand where you can reach other people for your new audience.

Now you know where they hang-out online, how to speak to them based on what news they read, and what blogs they pay attention to.  You have a sense of how they pay attention to things.  A headline from New York Times for instance is very different than a headline from BuzzFeed.  Now, you have a better understanding of how to communicate with your potential audience.

Use this information to know where and how to find your audience.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.

Receiving Miracles 2

by Carole Dean

Loving yourself is highly important to let miracles come to you

In my previous blog, Receiving Miracles, I covered 3 things that are necessary for independent filmmakers to bring miracles into their life.

  • Give Gratitude Daily for the Things You Have
  • Don’t Let Your Unconscious Mind Sabotage You
  • Don’t Let Negative Thoughts Turn into Negative Words

Master those and you’ve got a good start.  But, there are 3 more things, equally as important, to receiving miracles in your life. 

The first one is very simple, but difficult for some to achieve. 

Love Yourself

Yes, you need to 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/actors/director of photography and even craft service!  This is an amazing amount of talent for one person.

Realize this, you are a major talent.  Loving yourself is highly important to let miracles come to you. And sometimes miracles come in the form of money. 

This is where a lot of people stop money and miracles from coming to them.  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.   

At the end of each day, you go over your to do list.   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.  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….Whee!” So take a lesson from him and tell yourself daily “I am the greatest.”  It worked for Ali and it can work for you.

Don’t Worry About How it Will Happen

Another step that stops people from receiving miracles is the “HOW.”  All of us want to know how will it happen.  Where will it come from?  This 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 you should do to make it happen.  By believing it will happen you are totally open to receive. 

Visualize

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.  They are powerful. 

Let me tell you a story of a filmmaker who is fiscally sponsored by From the Heart Productions.  She is making a historical documentary film and needed to do her next shoot on location.  She applied for several grants and then began prepping for the trip planning every minute of how the shoot would go just as if she had the money. 

I called her just before Christmas and said what are you working on?  She said her budget for the locations shoot.  She was down to the penny for what to spend, where to stay, everything was ready. 

I asked her, “How much do you need?” Her answer was $30,000.  How wonderful, I said, you just received a grant for this exact amount!  She was elated.

This is how it works, she did not ask how, she did the work, she knew she would be on locations soon and was perfectly ready to receive.  

I want you to give daily gratitude for what you have now, be careful to never put yourself down and to watch your thoughts, you want positive successful thoughts.  Be sure to compliment yourself daily for your many achievements and your talents, loving yourself is a priority.  Next, visualize what you want and see yourself getting it and experience those great emotions of joy, success and confidence. 

Believe me; this will bring you a miracle.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.