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Drew Horton,
Small Media Extra Large
Media is blurring. Film and interactive storytelling have any number of overlapping areas. This pres...
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Media is blurring. Film and interactive storytelling have any number of overlapping areas. This presentation will discuss how to use interactive, location-based and social media to further your story and promote your film with budgets of all sizes. Discussion points will include the usefulness of microsites, as well as understanding social and location-based media outlets and how individual sites and services are best suited to different campaigns.
Marketing / PR / Publicity interactive marketing, Marketing Strategy, social media engagement
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Yes
No
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Todd Cogan,
Venture 3D
For half a century, filmmakers have been trying to create the illusion of depth perception in an eff...
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For half a century, filmmakers have been trying to create the illusion of depth perception in an effort to optimize moviegoers’ viewing experience. The catalyst currently driving 3D has been digital projection, as current technology allows for stereo exhibition to be performed on a single projector, thus removing the need for expensive prints and complicated variables. From a production perspective, the debate continues between those who are convinced that only native 3D (dual cameras) should be the 3D platform of choice or whether 2D to 3D conversion can deliver the same results. Although there are hitches in both acquisition methods, 3D-converted content can actually look as good as if it was initially shot in stereo. 3D conversion has a promising and exciting future as filmmakers familiarize themselves with the medium and focus on the technology best suited for each individual frame as opposed to treating the movie as a whole. Eventually, stereo movies will incorporate both acquisition methods, providing audiences with a further enhanced viewing experience. This presentation will address the following: the physical advantages and disadvantages of shooting in 3D vs. converting 2D content into 3D, the cost and workflow differentials, the creative differences in the “look”, how to better prepare a production for conversion, and the future of 3D conversion with the advent of a possible hybrid system.
New Technology / Next Generation 3D, 3D Conversion, Stereoscopic Production
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Yes
No
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Simon Calver,
LOVEFiLM
The life of a film today undergoes a metamorphosis from its birth in the cinema to becoming a movie ...
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The life of a film today undergoes a metamorphosis from its birth in the cinema to becoming a movie on a television set to an online or mobile video. Advances in digital media technology free consumers from the former limitations of content distribution channels and give them control over how and when they access it – with options to watch content time-shifted, place-shifted and even device-shifted. But how can content producers ensure that ubiquitous distribution isn’t a threat, but rather increases content consumption, revenue generation and opportunities for engagement?
This discussion will look at how consumer habits are changing on a large scale, and how content providers can embrace a new age of digital media and find successful distribution and monetization by meeting customers on their own terms. It will also cover how engagement can be further augmented and how audience behavior varies between cultures.
Distribution digital, monetization, platforms
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Yes
No
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Keith Calder,
Snoot Entertainment
The only way to make a good movie is to try to make a great movie and fall short.
It's really har...
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The only way to make a good movie is to try to make a great movie and fall short.
It's really hard to make a good movie, and it often seems like the whole world is aligned against this goal. Our panel will consist of real-world practical advice on how to make a good movie from concept through to final mix. This is intended to be advice applicable for any budget range and will cover development, casting, pre-production, production, and post-production.
It would help for attendees to have a good understanding of the filmmaking process, as we will be getting into a lot of high-level concepts and contrarian advice that requires an understanding of the "norm". We also will be moving at a very fast pace, because there are a lot of topics to cover. Prepare for information overload.
Other Creativity, Excellence, filmmaking
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Denis Jensen,
Partially Submerged Productions
Veteran and sophomore filmmakers alike will present what they wish they had known at the start of t...
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Veteran and sophomore filmmakers alike will present what they wish they had known at the start of their first film. Topics include: financing, the film as an LLC business entity, film festival submission strategies, public relations, music and licensing, when to show a distributor a cut of the film and when NOT to, distribution land mines to avoid, and new models of self-distribution. The discussion is targeted for aspiring filmmakers ready to embark upon their first producing role and the goal of the panel is to prevent mistakes and the pursuit of dead-ends and give the first time film producer the insight that will give a first film the savvy treatment of a second or third film.
Production indie filmmaking, Low-budget, Production
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Michael Clark,
Big Beach
Making a film was always a time consuming process and with the growing need for crowd-funding campai...
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Making a film was always a time consuming process and with the growing need for crowd-funding campaigns and DIY distribution filmmakers are now spending more time than ever working on a movie.
So before you spend years of your life on a project, you should know - will this idea sell?
The goal of HOW TO SELL A MOVIE IN 140 CHARACTERS is to answer this very question for filmmakers.
The conversation will examine current "story" trends in the marketplace at each level of filmmaking: grassroots independent, midrange "production company" independent, and the studio system. The focus at all times will be on how to conceive, develop and pitch ideas that will sell to both industry and audience in 2011.
Before SXSW begins the panel will create a topic on twitter in which filmmakers are actively encouraged to post their loglines in a 140 characters of less. During the panel we will have a screen in place which will display all of the pitches, many of which will be generated during the panel itself. The panel will comment on the various pitches and will choose one in specific to invest 20+ mins discussing.
The panel will help filmmakers learn how to sell their ideas. Twitter is a great venue for this purpose as it forces filmmakers to focus their ideas and to express them succinctly. Through the use of 140 character "pitches" the panel will help filmmakers understand the need nowadays to think in clean, conceptual terms, no matter the genre or scope of their project.
Content development, pitching, writing
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Yes
No
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Vicente Williams,
Producers Guild of America Diversity Committee
If you're a minority, person with disability, LGBT or woman, entering the entertainment industry can...
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If you're a minority, person with disability, LGBT or woman, entering the entertainment industry can be a daunting task. In this panel we'll follow the career track of a fictitious diverse entertainment professional from high school through to their golden years. The panel will address the challenges, opportunities and benefits of being from a diverse background. We'll take note of what is working and not working at the macro and micro levels to encourage and promote diversity at all stages of the career cycle. Panelists will examine what is happening in education, corporate america and the guild levels as we follow our filmmaker through the system.
Other career, diversity, inclusion
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Yes
No
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TBD TBD,
Participant Media
Participant Media has a history of producing successful documentary films, but ticket sales are not ...
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Participant Media has a history of producing successful documentary films, but ticket sales are not the only end goal. More importantly, Participant wants that these films to inspire viewers to change the world. This panel will talk about how Participant decides to produce a film, what goes into the film-making and how to develop a campaign
Documentary filmmaking, movement building, social change
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Yes
No
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Behnam Karbassi,
No Mimes Media
Transmedia has become the talk of the town, but the question remains: how do you make this $#it? ...
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Transmedia has become the talk of the town, but the question remains: how do you make this $#it? This presentation reviews the considerations, techniques and unique challenges facing the new type of producer that has to know a little about a lot. Understanding any and every medium on which your story will take place--video, audio, web, mobile, print and everything in between--is only the first step. Finding funding, making it all happen at the right time, coordinating taped and live events, responding to your audience, wooing executives, and keeping it all together quickly take the place of sleep. It’s like producing, but harder. Join Behnam Karbassi, transmedia producer and director for No Mimes Media, a leader in the new field, for an in-depth look into the future of storytelling.
GIVEN THE NATURE OF TRANSMEDIA, THIS WOULD BE AN EXCELLENT FILM AND INTERACTIVE CROSS-OVER TALK.
Production transmedia
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Yes
No
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Christine Aylward,
MakingOf.com
The Internet has opened up communication in ways once never imagined. The evolving methods of connec...
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The Internet has opened up communication in ways once never imagined. The evolving methods of connection have developed through social networks and now are growing rapidly on film-targeted platforms like MakingOf. This panel will explore revolutionary methods that filmmakers (directors, producers, actors, etc.) are using to connect with and message their fans directly. The discussion will also offer best practices and advice to publishers looking to work with film industry talent as well as ways that aspiring artists can build their branding.
Digital Filmmaking blog, filmmakers, video
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Yes
No
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Brenda Huettner,
P-N Designs, Inc.
This panel will discuss the wide variety of social media platforms available today and identify some...
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This panel will discuss the wide variety of social media platforms available today and identify some of the benefits and drawbacks of each. We'll talk about how to use social media effectively to build buzz, make connections, and establish an integrated online presence.
Social Networks Acting
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Yes
No
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Tiffany Pritchard,
All City Media
Thanks to on-line media and social networking platforms, teaser campaigns have never been more rife ...
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Thanks to on-line media and social networking platforms, teaser campaigns have never been more rife (and easy to transmit to the widespread public) as they are today.
The panel will bring together filmmakers, sales agents, distributors and designers to discuss the most effective outlets for releasing early material such as trailers and poster artwork. Each panel speaker will share how teasers vary from domestic and international release to early stages in the production period. Examples will be shown of each of these types of campaigns.
As technology changes daily, this panel will also explore the next best digital and social networking trends, and how the teaser campaigns can effectively cross over.
This panel is a banter of what works and what doesn't, what's current and what's upcoming, what's trending and what's passé.
Marketing / PR / Publicity Film premieres, Social Networking, Teaser film marketing
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Yes
No
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Kristin Jones,
www.vuguru.com
Independent film as we know it is dead. And the concept of independent TV has never existed, save fo...
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Independent film as we know it is dead. And the concept of independent TV has never existed, save for niche cable access programming (think Wayne’s World & UHF). Studios are prioritizing tent-pole franchise films & the majority of indie film labels currently exist in name & library only. High-end cable is currently the only dependable bastion for highbrow content: Todd Haynes & Alexander Payne work for HBO. Audiences flock to MAD MEN weekly but panned Sam Mendes’ film of the same milieu REVOLUTIONARY ROAD.
That said, a new breed of independent financiers with a focus on distribution via emerging platforms are creating new alternatives for the creative community by developing, financing & releasing feature-length content.
Whether positioned as the new movie-of-the-week, mini-series or simply a feature-film distributed via curated online video sites, content can have a new & even more predictable life beyond the festival circuit. This panel will feature representatives from indie studios, online distributors & established production companies that have made the move to producing for new platforms. The panel will tackle controversial questions including:
* Can monetization via online/mobile distribution really work without projects turning into “branded entertainment”?
* What is the tradeoff between losing ownership rights vs. being able to get one’s project financed and released?
* Is backend participation, in lieu of a sizable upfront payment, economically viable?
Content digital distribution, Digital Filmmaking, online video
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Yes
No
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Jason Ormand,
Opus Video Productions
Prosumer video equipment continues to fall in price and increase in functionality and quality. This ...
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Prosumer video equipment continues to fall in price and increase in functionality and quality. This trend is leading to a growing number of users producing video. However, the commercial software tools required to edit, transcode and distribute this video have not similarly dropped in price. A wide variety of free and open-source tools are available on the Windows, Mac OS X, and Linux operating systems that are becoming increasingly useful for video production. Although some of the tools are a generation behind expensive proprietary software solutions, especially non-linear editing, many tools are best of breed for example transcoding.
This presentation will introduce open-source tools, cover strengths and weaknesses compared to commercial solutions, and will walk users from beginning to end through an open-source video production process. The presentation will include a discussion of non-linear video editors, audio editors, transcoding software, audio and video codecs, rendering systems, and online distribution tools as well as basic tools for bitmap, vector, and animation creation.
Webisodes / Online Video low cost, open source, video production
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Yes
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Ed Ulbrich,
Digital Domain & Mothership
From feature films such as “Titanic” to “The Curious Case of Benjamin Button” to “Tron: Le...
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From feature films such as “Titanic” to “The Curious Case of Benjamin Button” to “Tron: Legacy” and commercial work for some of the world’s biggest brands, Digital Domain has been at the forefront of innovation in both film and advertising. Ed Ulbrich, President of the company’s Commercials Division and corporate EVP, will present a case study of a groundbreaking transmedia property. He’ll take attendees through the process of creating a multi-faceted universe that brings the worlds of movies, videogames and marketing together and extends the story experience from ‘viewing’ to ‘participating’ across every accessible media platform, while giving marketers and brands the opportunity to integrate directly with entertainment properties rather than standing alongside them.
Marketing / PR / Publicity integrated marketing, multiplatform marketing, transmedia storytelling
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Yes
No
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Jeffrey Schechter,
LTW Productions Canada Inc
You got the job...congratulations! Now, how do you keep from being fired and replaced? Sometimes i...
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You got the job...congratulations! Now, how do you keep from being fired and replaced? Sometimes it's inevitable, but often the writer is his or her own worst enemy. Learn what to do (and what NOT to do) from Jeffrey Alan Schechter, a working film and television writer and producer who's often been hired and occasionally fired.
Screenwriting business, Screenwriting
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Yes
No
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Susanne Mason,
newday.com
This DIY Distribution Dialogue will feature four or five successful independent social justice docum...
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This DIY Distribution Dialogue will feature four or five successful independent social justice documentary filmmakers who self-distribute their films. The panel will include at least one member of New Day Films, Inc., and three additional filmmaker panelists who actively distribute their social issue films. New Day is the longest-operating filmmaker-owned and operated cooperative in the United States, founded in 1971 by four feminist DIY filmmakers, and widely respected in the educational market for its high-quality social justice films. As the number of indie docmakers increases, the marketplace for films becomes an increasingly moving target. Filmmakers fear an ocean of competing titles, while buyers want low prices and easy streaming deals. The profit margin on a documentary is typically non-existent without upfront financing, a pipedream for the majority of docmakers. The business of making docs is undergoing foundational change. Current discussion focuses on how e-convergence alters the marketplace, yet there’s little acknowledgment of how filmmakers have repeatedly adapted since the early years of indie docmaking. DIY Distribution: Expert Filmmakers On How & Why will soothe tired filmmaker ears. At least two panelists will be Academy Award-winners or nominees, and/or had a Sundance Film Festival premiere. They will describe how filmmakers can self-distribute films as profitably, or much more so, as if they had signed with a traditional company.
Distribution DIY Distribution, self-distribution, social justice documentaries
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Yes
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Denise Macomber Lenz,
LenzView Productions
There is a revolution in documentary filmmaking: the budget is small, the crew is minimal, the produ...
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There is a revolution in documentary filmmaking: the budget is small, the crew is minimal, the production is fast, the story is now, and that story can change the world. And in the age of bloated budgets and inflated egos, that is no small feat. This panel will discuss various methods to take production back to basics, keep costs down, and funnel energy into creating a quality film without an astronomical budget. We will also explore the role of community and volunteerism in making films that matter; the use of social media to build buzz and expand the breadth of a project; and the potential for documentary filmmaking, non-profit organizations, and causes that need a voice to combine forces and make a social impact, together.
To highlight this process from beginning to end, we go into depth on the making of the film “Taylor’s Gift.” In March of 2010, Todd and Tara Storch lost their teenage daughter, Taylor, in a skiing accident. Her donated organs saved five lives, and the Taylor’s Gift Foundation, begun by her parents in her honor, stands to save thousands more. With the creation of the documentary, the Storches, their family, their friends, and their community have opened themselves and their lives to a camera crew, sharing their journey, in the hope that it will inspire others to save lives through organ donation. Thus, the union between a non-profit and documentary film is forged, and the result is more powerful than anyone had dared imagine.
Documentary Low-budget, non-profits, social
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William Goss,
Cinematical
As pervasive as the Internet has become, so has the notion that free content must be free for others...
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As pervasive as the Internet has become, so has the notion that free content must be free for others to take. Plagiarism proves a constant issue, although a quick use of Google can spot offenders about as easily as it helps them, and bloggers find the concept of their “exclusives” rendered null and void almost instantly. How dumb must some be to take what isn’t theirs? How smart must others be to avoid merely regurgitating the latest press release? How heavily should we allow access to dictate content? How well are we serving an audience if it’s easier to put a question mark in the headline instead of making an honest-to-goodness phone call or two? How long can we wait to break news, and how much sourcing do we owe our readers? With the right combination of participants, I promise you that, while we may not be able to answer of these questions definitively, it'll make for a heated and humorous discussion as to what our news and opinions are truly worth at this moment* in our field. (*well, THAT moment in March; I can't imagine things will be much different by then)
Film Criticism blogging, content, Plagiarism
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Yes
No
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Kay Schaber Wolf,
Writers Guild of America, West
Guilds are a major aspect of filmmaking and if you're serious, there's information you need. Meet r...
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Guilds are a major aspect of filmmaking and if you're serious, there's information you need. Meet representatives from DGA, SAGIndie, and WGAW as they present the various benefits, protections and programs they offer both veteran and novice filmmakers.
Contracts Acting, Directing, Screenwriting
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Yes
No
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Lauren Kritzer,
The FilmShop
The recession has hit the film industry pretty hard – media companies are downsizing and fundraisi...
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The recession has hit the film industry pretty hard – media companies are downsizing and fundraising is at a standstill. In the current recession, how can people continue to making a living in independent film? This panel highlights endeavors within the film community that have proved essential to the livelihood of media professionals and the continued production of innovative work. As they say in the industry, it is not what you know but who you know. We will discuss networking opportunities where people can fish for freelance work and connect with people interested in collaborating on independent projects. The panel will also discuss the advantage of work-in-progress screenings that provide filmmakers with an audience of their peers to provide vital feedback. Production is expensive. How can filmmakers pool resources and get access to the latest equipment without breaking the bank? The panel will highlight organizations around the country that are providing quality production equipment at an affordable cost. The internet has provided the film community with a new way to connect with other industry folks on a global scale. The panel will highlight leading websites that provide innovative ways for filmmakers to connect, share work, troubleshoot technical problems, and look for jobs. The audience for this panel will learn how people in the film industry are connecting in new ways, sharing information and resources that make it possible to produce innovate work.
Social Networks community, networking, Resources
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Yes
No
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Tim League,
Alamo Drafthouse Cinema
Get 4-5 industry experts in a room and a breathalizer in the green room before the panel. Panelists...
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Get 4-5 industry experts in a room and a breathalizer in the green room before the panel. Panelists must be able to blow a .15 blood alcohol level or greater to begin. Scott Weinberg/James Rocchi or similar large personality to moderate. Find out if big gossip or industry facts, controversial opinions and secrets are divulged under the influence of alcohol.
Distribution
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Yes
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Brooke Thompson,
Giant Mice
Transmedia projects, no matter how simple they may appear, can quickly become huge beasts that devou...
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Transmedia projects, no matter how simple they may appear, can quickly become huge beasts that devour those working on them. Getting organized is essential for success and maintaining proper documentation is imperative as you move forward. But what documents are needed? How are they best utilized? How can you quickly, and easily, get key information to the right people – without having to weed through all the various complexities?
Using a sample project created specifically for this presentation, you will be guided through the design process learning valuable tips and best practices along the way. You will leave with, not only a deeper understanding of what it takes to design and produce a transmedia project, but documentation templates (design, narrative, & production) that you will be able to easily customize to your needs based upon what you learned.
Production design, Documentation, transmedia
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Yes
No
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Lisa Vandever,
CineKink
What’s the difference between art and porn? The old joke is that “one is in focus,” but it’s...
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What’s the difference between art and porn? The old joke is that “one is in focus,” but it’s also an aesthetic distinction that is increasingly irrelevant. Just as more “mainstream” indie filmmakers are utilizing explicit themes and imagery in their works, a new school of directors working on the adult side of the industry are creating works that defy the porn clichés. Even if you’re not looking to bare all, here’s your chance to learn from each and tell stories that move past the bedroom door to embrace the full range of our experiences.
Content Directing, porn, sex
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Yes
No
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Richard O'Connor,
Asterisk Animation, LLC
Animation is the opposite of documentary in every way, yet there is an ever growing combination of t...
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Animation is the opposite of documentary in every way, yet there is an ever growing combination of the techniques as well as long history of their mingling.
This panel will discuss frame by frame filmmaking's relationship to non-fiction works.
Animation / Anime documentary filmmaking
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Yes
No
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Warren Cohen,
VH1
Music films have an advantage of always having a natural climax. Poor/gifted/unexpected person or ba...
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Music films have an advantage of always having a natural climax. Poor/gifted/unexpected person or band possesses life-changing talents; may or may not become famous and may or may not hold on to fame. It's either an uplifting tale or a tragedy worth telling. No matter which ending, music films, both documentaries and biographical pictures, have grown wildly popular among audiences and filmmakers in recent years.
This panel will explore how music of the 20th century is best captured cinematically: which storytelling vehicles are producers and directors using to best establish the historical record on film. We'll discuss a number of recent pictures that try to shake up the form of the music film. These include films as diverse as When You're Strange, the recent paean to the Doors that eschews recollections for living in the moment of the '60s through found footage, and This Movie is Broken, which tries to interweave a fictional tale with the music of the band Broken Social Scene.
In this panel, we'll analyze whether music films evolving as their own unique filmmaking niche and discuss challenges common to using popular music in films. We'll discuss new venues of distribution for music films that diverge from the old models. And we'll ponder the most innovative uses of telling music history stories on film and what to expect in the upcoming years.
Music in Film Music documentaries, Rock Docs
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Yes
No
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Lisa Borodkin,
Lisa J. Borodkin, Attorney at Law/LAist
You don't make the movie "The Social Network" without making a few enemies.
How can a movie like ...
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You don't make the movie "The Social Network" without making a few enemies.
How can a movie like "The Social Network" be legally made? Join Lisa Borodkin and Christina Gagnier, Los Angeles-based attorneys and hosts of TechZulu TV's Startup Law show, to discuss how "The Social Network" flips the script on Facebook's founders, and how much private life is fair game in making movies today.
If technology entrepreneurs are the new rock stars, they will spawn biopics. "The Social Network" is a movie about Facebook's early days and rivals, revolving around a series of lawsuits with an early competitor at Harvard College, using real names and claiming to be drawn from real events.
Panel topics will include debates over the accuracy of the people, events, Harvard dorm life and final club parties depicted in Ben Mezrich's book, "Accidental Billionaires," as well as Aaron Sorkin's script; the law of defamation, libel and false light as it relates to the film, the actual fraud and computer theft claims in the lawsuit between ConnectU and theFacebook.com; the use of litigation as a driver in David Fincher's film and in real life, and the First Amendment and commercial restrictions on marketing the film through social media channels.
Most of all, the panel will focus on how social media's radial redefinition of personal privacy spills over into traditional movie-making.
Bring your hoodie, Adidas flip-flops, popcorn and legal pads.
Acting Facebook, law, reality
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Yes
No
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Spencer Richardson,
FanBridge
Don't make the mistake of thinking that the value of your viewers/fans stops after they've watched y...
READ MORE
Don't make the mistake of thinking that the value of your viewers/fans stops after they've watched your film. This panel will explore several cost effective resources and ideas that indie film makers can use to get the most out of audiences, after they've left the theater.
New Technology / Next Generation fan management, monetization, tech
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Yes
No
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Mike Shields,
Schrödinger Pictures
Put together those that have done both, and have a discussion about how they've done it successfully...
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Put together those that have done both, and have a discussion about how they've done it successfully. Shira Lazar, iJustine, and other YouTube content creators.
Digital Filmmaking Webisodics
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Yes
No
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Aurelio Voltaire,
VOLTAIRE
Stop-motion animation has been around since the very beginning of film and is still around today. Th...
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Stop-motion animation has been around since the very beginning of film and is still around today. The art of manipulating rubber puppets and bringing them to life by posing them one frame at a time on film has seen something of a renaissance in recent history with the release of such films as Coraline, The Fantastic Mr. Fox and A Town Called Panic. Unlike it's shiny and new cousin, computer animation, stop-motion has always had a home-made and somewhat surreal quality to it. Perhaps it is for that reason that it is often the technique of choice for filmmakers like Tim Burton and Henry Selick, looking to create a strange and spooky world (Nightmare Before Christmas, Corpse Bride, James and the Giant Peach).
Aurelio Voltaire, a filmmaker firmly entrenched in the world of dark, puppet animation will take us on a little tour of the genre in a presentation called "Puppet Masters of the Macabre: A Night of Spooky Stop-Motion Animation". Voltaire will screen excerpts from his reel (including station IDs created in the early days of MTV and The Sy Fy channel as well as a few of his award-winning shorts voiced by Danny Elfman, Gerard Way of My Chemical Romance, Debbie Harry of Blondie and Richard Butler of the Psychedelic Furs) as well as the work of other colleagues and luminaries of macabre animation. The screening will be immediately followed by a demonstration and lecture by Voltaire.
Animation / Anime puppet animation, stop-motion, Voltaire
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