The independent film & videomaker's guide:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Studio City, CA
Wiese
1998
|
| Ausgabe: | 2. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Literaturverz. S. 459-475 |
| Beschreibung: | XVI, 480 S. Ill. |
| ISBN: | 0941188574 |
Internformat
MARC
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| 245 | 1 | 0 | |a The independent film & videomaker's guide |c Michael Wiese |
| 246 | 1 | 3 | |a The independent film and videomaker's guide |
| 250 | |a 2. ed. | ||
| 264 | 1 | |a Studio City, CA |b Wiese |c 1998 | |
| 300 | |a XVI, 480 S. |b Ill. | ||
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| 500 | |a Literaturverz. S. 459-475 | ||
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Datensatz im Suchindex
| _version_ | 1804129332851900416 |
|---|---|
| adam_text | THE
INDEPENDENT
FILM
VIDEOMAKER S
GUIDE
2ND EDITION
MICHAEL WIESE
TABLE OF CONTENTS
Acknowledgments 1
PURPOSE OF THIS BOOK
How to Use This Book 4
Who Should Use This Book? 5
The First Exercise 6
What s Missing for You? 9
Another Assignment 10
What s in It for You? • 11
INTRODUCTION TO YOUR INDEPENDENT FUTURE
Low Cost High-Tech Gear 12
New Audiences 12
Distribution Channels 12
International Coproductdons 15
IMAGINE THIS
The Three Secrets to Filmmaking 17
A Glimpse of Your Own Future 18
See It First: A Pre-visualizatdon Exercise 19
Imagine Success 20
DRAWING BACK THE BOW
Know Where You Are Going 22
Write a Mission Statement 22
DEVELOPMENT: CATCHING BIG IDEAS
The Development Stage 26
Development Money 27
Finding a Great Script 27
Developing Great Ideas • 29
Trends 30
Original Ideas 31
Vlll
TABLE OF CONTENTS
MindMaps and IdeaFishing 32
Try This Exercise 32
The Title Machine 34
Tapping Into the Unconscious 3 5
Creative Tools Are a Must 37
PRODUCING
The Producer 38
Relationships 39
Agreements 39
Rights amp; Clearances 40
The Twenty-one Basic Agreements 41
More About Music 49
Other Rights 51
Copyrights 51
Producing As You Go 53
Budgets 54
Negotiations 56
The Five Rules of Budgeting 57
Money-saving Tips 59
Pitfalls of Independent Filmmakers 64
Summary 65
INTRODUCTION TO DISTRIBUTION
The Distribution Pie 66
Finding Distributors 67
How to Find Distributors 72
Pitching Your Idea to Distributors 74
Summary 78
THE THEATRICAL BUSINESS amp; DISTRIBUTION
Studio Theatrical Overview 79
Independent Features 80
Independent Theatrical Distribution Issues 80
Cost-to-Return Ratios 81
Seven Steps for Selling Successful Indie Films 81
Marketing Your Film 82
The Deal 82
Sample Deal Memo #1 85
Notes on Sample Deal Memo #1 87
ix
THE INDEPENDENT FILM amp; VIDEOMAKER S GUIDE / IViese
Sample Deal Memo #2 89
Notes on Sample Deal Memo #2 91
The Distribution Contract Basics 94
My Amendments 98
Summary 100
THE VIDEO BUSINESS amp; VIDEO DISTRIBUTION
Home Video Market - An Overview 101
Video Retail Environment 103
The Major Players 103
Niche Performers in Exercise 104
Economics 105
Release Schedule 106
Top 50 Sell-through Titles by Genre 108
Release of Sell-through Tides by Quarter 108
Top 10 Video Releases, 1995 109
New Technologies 109
The Home Video Food Chain 110
Direct-to-Video Movies 112
Independent Film on Home Video 114
Home Video Royalties 115
Video Deal Memo 116
Double-Dipping: A Deal With the Studios 117
How Home Video Advances Work 119
Premiums 120
Forced Distribution 120
Summary 121
TELEVISION
Pay Cable 123
Cable Television in the U S 123
Top 50 Multi-system Operators (MSO) 124
Cable Network Program Services 125
PBS - How It Works 130
PBS 131
Points of Entry for PBS 132
Major Producing Stations 133
PBS/CPB Approach 134
National Endowments for die Humanities 135
TABLE OF CONTENTS
Sponsor-Driven Proposals 136
On-Air Offers/PBS 136
How to Do PBS Premium Deals 13 7
CORPORATE amp; INDUSTRIAL VIDEO MARKETS
Institutional/Corporate Markets 140
The Program Objective 141
Your Team 141
The Product amp; Pricing 141
Price Justification 142
Target Audience 142
Competition 142
Program Concept 143
Production Elements 143
Packaging 144
Distribution Channels - Release Strategy Assumptions 144
Impressions for Success 145
Free Trial 146
Telemarketing Video 146
Follow-up 146
Line Extensions 147
Catalogs 147
Splintering Markets amp; Strategy 147
Marketing Environment 147
SHORT FILM DISTRIBUTION
An Exercise 149
Shorts on Pay Cable Television 151
Portfolio Piece 151
Breaking the Rules - Hardware Wars 154
Summary 155
SELF-DISTRIBUTION
Why Self-Distribute? 157
The Avenues of Self-Distribution 158
Four Walling Theatrical Documentary Features 159
Self-Distributing Video 162
Direct Mail 168
XI
THE INDEPENDENT FILM amp; VIDEOAIAKER S GUIDE / Wiese
Mailing List Sources 169
Video Catalogs 170
Summary 171
MARKETING YOUR FILMS amp; VIDEOS
The Marketing Food Chain 172
Who Is Your Target Audience? 174
Existing Distribution Channels 175
Market Research 176
Festival Strategies 180
Who s Who Among Distributors? 188
Distributors by Market Share 190
Overall Top 10 Home Video Companies 192
Current Trend 192
Film Festivals amp; Markets 193
Festival amp; Market Timetable 196
Sundance Pickups 196
Total Market for Independent Films 199
Summary 199
PROMOTION, PUBLICITY amp; ADVERTISING
What Are Your Hooks? 200
Promotion and Publicity 200
Publicity 203
Paid Advertising 204
Press Kits Clip Reels/Electronic Press Kits 206
Press Screenings 207
Summary 207
FINANCING SOURCES
Industry Financing 208
Independent Producer Production-Financing Deal 209
Independent Distribution Financing 211
Loans/Banks 212
Required Documents 214
Completion Bond 215
Negative Pickup 217
Pre Sales • 220
Getting Foreign Sales Agents 222
xn
TABLE OF CONTENTS
Foreign Presales Minimum Estimates 224
Presales Meets Private Investors 227
Deal Points With Your Foreign Sales Agent 227
Gap Financing 228
A Financing Strategy 229
Private Investor Financing 230
(Active) Investor Financing 231
Joint Venture Financing 232
Corporations 232
S Corporation 234
Foreign Financing 235
International Coproductions 236
Grants 237
Summary ~ 238
THE LIMITED PARTNERSHIP
Preparing Your Package for Investment 239
Limited Partnership 242
Creative Spins 244
Partnership Rules 246
Attorney Costs 247
Ongoing Business of the Partnership 249
Summary 250
OTHER CREATIVE FINANCING MODELS
Limited Liability Companies (L LC) 253
Mini-Deals That Can Help Make Up Your Budget 254
Facilities Deals 254
Below-The-Line Deals 255
Deferrals 255
Development Funds 256
Money Finders/Brokers - 257
Film Lab Deals 260
Summary 260
THE BUSINESS PLAN/PROSPECTUS
The Business Plan/Prospectus 263
The Elements of a Business Plan 264
Style and Layout 266
• Xlll
THE INDEPENDENT FILM amp; VIDEOMAKER S GUIDE / Wiese
Cover • 266
Table of Contents 269
Executive Summary 269
The Project 269
Target Audience 274
Comparable Box Office Performance • 274
Production Aspects 274
Progress to Date 274
Budget 279
Distribution Approach 279
Income Projections 283
State of die Industry 285
Expanding Foreign Markets 285
Funding 288
General Company Description 288
Production Team Bios - 292
Cast Hit List 292
Production Schedule 295
Marketing Analysis 297
Film Profit® 306
Book Flyer/Articles 308
Contact Information 308
Summary • 310
PRESENTATIONS
A Dream Come True? 311
Marketing Yourself to Investors 312
What Investors Want to Know 313
Too Much Participation 316
Thirteen Steps to Successful Pitching 319
Things Not to Do 320
Four Quick and Easy Pitch Exercises 321
Pitching to Investors 322
Where to Find Investors 323
How to Give a Successful Presentation 325
Visual Impact in Presentations 325
Personal Appearance 326
Presentation Space 327
Screening Rooms 328
Private Homes 328
Restaurants 329
Group Dynamics 329
The Wise Guy 330
xiv
TABLE OF CONTENTS
Inner Environment 330
Cold Calls 331
Maybe s 332
Sometimes You Need to Say No 333
Anodier Reason Not to Take die Money 333
You ve Got to Ask 334
Presentation Budget 334
Invitations 335
Rehearse Your Presentation 335
The Presentation Structure 338
The Beginning 338
The Middle 338
The Ending 339
Questions and Answers 339
Film Clips 340
Enclosures 341
Enclosure Sample 342
Summary 342
A NO-BUDGET MOVIE-COYOTE S HONOR: A CASE STUDY
Parti: Genesis 343
The Gear 346
The Look/The Approach 348
Audio 349
Tricking the Camera 350
Video ASA 353
Part II: Production Begins 355
Casting 356
Second Draft Scripts and Rewrites 356
Go in With Your Eyes Open 358
Agreements with Participants 361
Film Agreement 362
Part HI: The Postproduction Process 373
Storage and Organization 373
The Rough Cut
r 374
Audio 375
Previews 375
Music 376
Layoff 377
Layoff Take Two 378
Filmlook 379
Color Correction 381
xv
THE INDEPENDENT FILM amp; VIDEOMAKER S GUIDE / Wiese
Mastering 382
Filmlook Tips 383
Summary 383
An Update 383
SPECIAL INTEREST VIDEO-KIDS ON THE INTERNET:
A CASE STUDY
Creating a Hit Right Out of the Box 3 84
Address a Need 384
Well-Known Host 385
Counter a Trend 385
Check Out the Competition 385
Detailed Distribution Plans 386
Make the Best Deal 387
Network 387
Marketing Component 388
Television 389
Internet Marketing 389
It s Not Enough to Be a Producer These Days 390
Packaging 390
Forget the Majors 3 91
Preproduction 391
Casting 392
Production 395
Stock Footage/B Roll Elements 396
Postproduction 397
Duplication 398
Summary 398
SUMMARY
Summary 399
APPENDIX
The Age ofVideography 404
Delivery Requirements 407
Hardware Wars Press Release 410
Newsgroups 412
Self-Quiz 414
Stock Footage License 420
Theater Chains 425
Limited Partnership Agreement 430
Bibliography 459
Resources and Books 476
xvi
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| indexdate | 2024-07-09T19:03:28Z |
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| isbn | 0941188574 |
| language | English |
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| physical | XVI, 480 S. Ill. |
| publishDate | 1998 |
| publishDateSearch | 1998 |
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| publisher | Wiese |
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| spelling | Wiese, Michael 1961- Verfasser (DE-588)120667835 aut The independent film & videomaker's guide Michael Wiese The independent film and videomaker's guide 2. ed. Studio City, CA Wiese 1998 XVI, 480 S. Ill. txt rdacontent n rdamedia nc rdacarrier Literaturverz. S. 459-475 Filmproduktion (DE-588)4124971-9 gnd rswk-swf Unabhängiger Film (DE-588)4485045-1 gnd rswk-swf Filmproduktion (DE-588)4124971-9 s Unabhängiger Film (DE-588)4485045-1 s DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009896237&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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