How you release your doc—and how audiences see it—have changed dramatically in the past decade, offering filmmakers with more and more ways to connect audiences with their films. What hasn't changed is the value an experienced publicist can bring to your team as you try to get the attention of critics, bloggers, influencers and viewers, and perhaps pick up an award or two along the way.
Seminar
Last year, an IDA-led coalition of filmmakers achieved a historic exemption in the Digital Millenium Copyright Act (DMCA) that allows documentary filmmakers to "crack" digital encryption on certain types of media (including "ripping" DVDs). What does it mean to claim fair use and how do you do it? What does the DMCA prohibit you from doing, and what does it allow you to do? What are the parameters for knowing when your access and use of copyrighted content is allowable under fair use, and covered by this exemption? In this special edition of Doc U, we will explore how to make fair use responsibly, and how to safely make use of the DMCA exemption for doc filmmakers.
The last few months have seen a number of shifts in the broadcast landscape for nonfiction programs. CNN launched CNN Films, upping the network’s commitment to long format documentaries. Participant Media acquired the Documentary Channel and Halogen TV, to be re-branded and launched this summer as a new channel featuring scripted and nonscripted programming, and LA’s KCET, the nation's largest independent public television station, has merged with Link TV creating KCETLink, a new transmedia independent network that acquires, produces and distributes provocative global programming. With these new ventures, and other evolving players on the scene, we'll take a look at the outlook for docs on TV.
You've run a fundraising campaign, used every favor, worked long hours, and now you're ready to get your film out into the world. Film festivals are an important and productive outlet for getting your film seen, building buzz, and hopefully locking distribution. But with ever more festivals crowding the calendar, how do you decide which festival is best for your film?
From original concept, fundraising, and production to festivals, distribution, PR and outreach, one can't argue that the documentary producer’s job description is varied. At every level from executive down to assistant, a good producer knows how to anticipate the needs of a director and crew--all usually on a tight schedule and an even tighter budget. Whether you’re bringing your own concept to life or jumping in mid-stream to save a doc in trouble, a good producer must bring a vast array of talent and expertise to the project.
Join moderator Karin Stellwagen (The Brooks Institute) for a discussion with Sarah Burns (The Central Park Five), Michael Donaldson (Partner, Donaldson + Callif) and David France (How to Survive a Plague) on the intricate balance between video journalism and documentary filmmaking.
Join moderator Milton Tabbot (IFP) for a discussion with Rachel Gandin Mark (Program Administrator for the American Film Showcase at USC’s School of Cinematic Arts), Carlos Islam (United Nations Creative Community Outreach Initiative), and Anne Makepeace (writer, producer, and director) and learn how docs serve as delegates in the global community.
Join producer Eddie Schmidt (Beauty is Embarrassing, Troubadours) for a discussion with Randy and Fenton on the challenges of running a transatlantic production company, crossing genre boundaries, and managing the famous and infamous, while also hosting a cutting edge culture blog with over 300,000 hits per month.
What does it mean to document change? From violent revolution and the fight for basic human rights, to single projects that change a community in multiple ways, more and more documentary filmmakers are finding themselves at the epicenters of a rapidly evolving world.
IDA invites you for a discussion about the benefits and challenges in researching, procuring, and licensing archival footage for your film.