Archive for the ‘How To's’ Category

9 Jul

Interview with SizzlePitch.com President Jijo Reed

Posted by docsandtv in How To's, Production Expert Interviews. Tagged: , , , , , , , , , , , .

Sometimes in independent production, it seems as though getting a project green-lit is harder than actually producing it.  Often times, new producers (and even seasoned ones) need just the right connections to get networks or funders to look at their proposals.  To really impress, a sizzle reel (3-minute trailer) is needed to convince the big bosses that a project is worth their time.

The new website SizzlePitch.com serves as a conduit for all types of producers to get their projects in front of the right eyes.  The SizzlePitch staff, led by President Jijo Reed, have over forty years of combined experience developing and producing for television and film.  The website and staff help you get your ideas in front of the execs by allowing you to upload an already produced sizzle reel (that’s free).  If you need a sizzle reel that really sizzles they can produce one for you starting at $2,500 depending on the scope of your reel. And the good news is, you don’t need to have any connections or an established name in the industry for them to do it.  As the website states “Finally there’s a destination where you don’t need to have “connections” to be connected.”  Jijo and I recently discussed the mission behind SizzlePitch.com.

What gave you the idea to start SizzlePitch?

In 2002, I had the idea of creating a reality show that took place in a rehab in Malibu. I found a rehab that was willing to let me shoot and talk to the residents in this program. After shooting for days on end, I put together a “sizzle” trailer to pitch the concept. VH1 loved it and ordered a pilot based on the sizzle. It’s now the hit show Celebrity Rehab. At the beginning of this year, I took a look at a list of my credits and realized that of the hundreds of projects I have produced, I enjoyed creating sizzles the most. The prospect of giving life to a concept, whether through “borrowed” footage or specifically shot footage, is extremely rewarding and, nowadays, necessary to the pitch process. When a visual representation of an idea is introduced, as opposed to just a verbal pitch, the chances of closing a deal is increased exponentially. My background in producing trailers for finished films has definitely been helpful in creating the right “flow” in the footage.

Or what are some successes you’ve had with SizzlePitch?

Our most recent successes are USS Indianapolis and Headshot.  We created what we call “film sizzles” for both of these “yet to made” projects. With only a script to go from, we created the sizzles by using clips from various movies and other miscellaneous content, wrote trailer copy and created title graphics, then of course, cut it all to music. USS Indianapolis has both an “A’ list director and actor attached; and foreign pre-sales are in the works. The sizzle for Headshot, a horror film, was the major reason the entire budget was financed.  It is in Pre-production now and shooting starts July 7th.

What has been the industry reaction to SizzlePitch?

The reaction has been amazing mainly because there are no real companies that specialize in sizzles at the level that we do. There are companies that offer this type of service but we are dedicated to packaging prospective film & TV projects.  Also we have an online component to showcase sizzles, so not only are we creating these pieces, but we offer a platform for producers to gain exposure and share their projects. We also offer script budgeting, profit & loss projections, website creation and digital key-art (poster art) for film & TV projects.

What is the most important thing that producers should know when creating a pitch reel?

A pitch reel should be able to “stand alone” without a verbal accompaniment. It should leave no questions as to what type of show it is or what it’s about. Also the production value of the piece should reflect the production value of the intended finished product. There’s never a benefit in under-selling or over-selling a project. Furthermore, it should be fun and interesting to watch and not be longer than 3min 30 seconds.  2 and 1/2 to 3 minutes is an ideal running time for most pitch reels.

What is most fun about working on SizzlePitch?

We love what we do here! Every project is a “passion” project because of the heart behind each project. I applaud anyone who is willing to put their dreams and goals in action. There are so many “producers” out there and even more people with “an idea” but the ones who really take action win my respect immediately. It’s so very rewarding to see a project get picked up and know that we were instrumental in that specific achievement.  Sizzlepitch’s lead editor, Karo Blikian sums it up “When a writer or producer sees their script come to life in our sizzles, we can’t help but to share in their excitement. It definitely doesn’t suck to see the reactions.”

To check out some of the reels produced by SizzlePitch visit:

http://www.sizzlepitch.com/video/145/HEADSHOT

http://www.sizzlepitch.com/video/137/USS-INDIANAPOLIS-SIZZLE

http://www.sizzlepitch.com/video/210/Chasing-Gary

For more information about SizzlePitch visit:

www.sizzlepitch.com

www.vimeo.com/jijoreed

http://www.facebook.com/SizzlePitch

5 Jul

SizzlePitch helps connect your project to producers

Posted by docsandtv in Grants and Funding, How To's, Tools and Resources. Tagged: , , , , , , , , .

I recently stumbled upon sizzlepitch.com, a website designed to help film and video producers find home for their projects.  Be it drama, non-fiction, web or stand-up comedy, you can upload your project-in-progress and even get help on it.  The CEO, Jijo Reed, assured me that they have had success getting both development and production deals.  Here is what he says on sizzlepitch.com:

“Finally there’s a destination where  you don’t need to have “connections” to be connected. With our collective experience of over 40 years in the Entertainment Industry and our strong relationships in the business,  this is the stage where your special project will get the right kind of  exposure to help enable a green-light for your concept-

SizzlePitch.com is the first website  of it’s kind to showcase your media project to the people you “need” to see  your project.  Do you have an idea for a  reality show? Have you written a feature script or treatment?  A web series show idea? Here at SizzlePitch, we  are intensely committed to producing AND showcasing the most effective tool in the pitch  process…. the Sizzle Reel.

Furthermore, we offer pitch packages  that include website creation, key art creation (posters, brochures, lobby cards) script breakdown & budgeting, PR & Publicity services,  Social Media Marketing and SEO (search engine  optimization) services.

With our seasoned team of producers, editors, designers, and copy writers, your reality show just may  become your dream show. Our facilities, located in the prestigious and historic  Wiltern Theater Tower, are equipped with virtually everything needed to produce  and showcase your project: HD edit bays, 5.1mix rooms, full 2D and 3D  motion graphic capabilities, a green screen stage, and a surround sound  screening room.               The website, http://www.sizzlepitch.com, has 7 different categories: TV SIZZLES, FILM SIZZLES, WEB SIZZLES, CORPORATE SIZZLES, MUSIC SHOWCASE, AND  COMEDY  SHOWCASE–

The TV SIZZLE category features sizzles for TV shows seeking funding and/or network deals.

The FILM SIZZLE category features sizzles and trailers for films seeking funding and/or distribution       deals. This channel also features misc trailers solely for viewing entertainment.

The WEB SIZZLE category features sizzles for web content seeking funding and/or general awareness. This channel also features misc trailers solely for viewing entertainment.

The CORPORATE SIZZLE category features media sales presentations for various business ventures seeking investors, partnerships, and other various objectives.

The MUSIC SHOWCASE category is dedicated to showcasing signed and unsigned bands for the purpose of booking  tours and securing licensing deals and/or recording contracts. Music content, such as live performances, videos, and EPK’s (electronic press kits) are presented on our site, targeting record labels, bookers, agents,  music producers and managers.

The COMEDY SHOWCASE category showcases both established and up & coming comedians with videos of comedy  sketch and stand up routines- Bookers, agents, managers, and casting agents have the opportunity to evaluate these performances for consideration.

With Sizzlepitch, you have the  option to either upload your own previously produced Sizzle to Sizzlepitch.com,  or we will provide the production, post, and creative services for you. And  with your project’s own customizable profile page, viewers will be able to  learn more about you and the assets of your project.

We are all so excited about the 2012  launch of SizzlePitch and are relentless in our mission to help you  realize your dreams)”

 

7 May

Interviewing Survivors of Violence or Trauma

Posted by docsandtv in How To's, Television Production, Tools and Resources. Tagged: , , , , , , .

Interviewing people who have experienced trauma first-hand or have a loved one that have fallen victim to violence takes special care.  Here is a list of articles from the Dart Center For Journalism and Trauma that can help you stay sensitive and get the story at the same time.

Best Practices in Trauma Reporting
Covering Children & Trauma
Interviewing Victims
Tragedies & Journalists

21 Sep

Tips and Tricks for Great Promo Writing and Producing

Posted by docsandtv in How To's, Television Production. Tagged: , , , , , , , , , .

As a long form producer, producing 30, 15 and 10-second promos used to seem like a chore.  But I’ve learned some tricks to help make effective promos while having a little fun.  Click here to see an example of a promo that I and the edit team put together for a series for short soccer demonstration videos with D.C. United for the on-demand channel Sportskool.

These are some things to consider when writing and producer a promo.

  • Choose your best sound bites.  These sound bites do not have to be a complete thought but should carry a lot of feeling or action in a matter of seconds.  They can even be exclamations like “wow!”  The shorter the better.
  • Choose your best shots, the “money shots” so to speak. Like the sound bites, these shots should quickly convey a sense of emotion or action.  Think about your footage and then ask yourself what is most “fun?” “What is most gripping?”
  • Choose some driving music that matches the theme of your program, video or promo.  For sports themed promos, consider youthful music like rock or hip hop.  They offer a lot of hard beats to cut the visuals to.  If it is a comedy, try something fun or kitschy.  If your piece is serious or emotional, you may want something a little slower.  I must admit, choosing music is not my favorite thing to do. Most music libraries ask you to input key words like “solemn” or “funky” which may mean something different to me than it does to the person who developed the program.  Because I want music with a good sting at the end, I sometimes listen to the end first. If the sting is weak, I quickly move on to the next selection.
  • String-out the bites, visuals and music to try to create a through-line.  Edgar Allen Poe said a short story should be about one feeling and one feeling only. He often went for fear. Similarly, the promo should be about one theme.  Don’t worry about the length of the string-out at this point.  Just see what’s working.  Ask yourself, what is missing?  What does a narrator need to say to connect the dots?
  • Start writing the narration.  The narration should be brief and leave room to insert the bites. This is a time to really have fun and use over the top language.  For action packed promos, it is hard to go over the top with symbolism and clichés.  Pack them in! I even look up clichés on the internet to get some scripting ideas.  For quieter pieces, you may want to dial it back a bit but you still want to get the audience’s attention.  Also, write two or three different scripts to see what works best.
  • Scratch out the narration and then see what works with the bites, “money shots” and music. Sometimes the theory seems like a good one in your head or on paper but when put altogether it doesn’t work so well. Don’t worry, use what works and build from there.
  • Watch promos on television.  We often tune out when promos come on but pay attention to what you think works or doesn’t work.  Listen to the music and the pacing. What would you change? Are there promos that you would like to emulate?

Sometimes you cannot string out bites and “money shots” before writing the promo because of the workflow or lack of time. Don’t worry there are many paths to a good promo.  Find what works best for you and the project. And, by all means, try to have fun!

27 Jun

Location Release Form Sample

Posted by docsandtv in How To's, Templates, Tools and Resources. Tagged: , , , , , , , , , , , , , .

Look for other templates and samples in Templates Category.

You can purchase this downloadable Location Release template for ONLY $0.99!

This template can be changed to fit your production needs. Purchase will be emailed to you.

                        

A location release is a form that allows the owner of a location to give written permission to the producer to shoot at the location.  For example, if you are shooting a piece at a high school, it is a good idea to have a representative of the high school fill out and sign the location release.  If someone down the road recognizes the school on your footage and wants to complain or worse, you will have this document to prove you were allowed to shoot there.  You can manipulate the document to reflect:

  • No cost or fee based
  • Distribution platforms
  • Time allowed to use the location image

I like to get rights for all platforms, in perpetuity.

Here is a sample release.

You can purchase this downloadable Location Release template for ONLY $0.99!

This template can be changed to fit your production needs. Purchase will be emailed to you.

                        

16 Jun

Proper Claboard Use

Posted by docsandtv in How To's, Opinions, Television Production. Tagged: , , , , , , , , , , , , , , , , , , .

The clapboard is also known as a clapstick, sound stick or slate board.  I’ve been on two television shoots recently for national, professional productions where the crew did not use the clapboard properly.

There are many types of clapboards.  Some are made of blackboard material, some are wipe boards and some are digital. The iPad has a clapboard app that I don’t like very much.  Most of them have a place where you can write in information about the production or takes.  It is common to see spaces that allow the user to add the name of the project, the take number, the scene name and some crew names.  I particularly like the digital ones that allow you to jam sync time code to each camera.

By far, the most important role of the clapboard is to allow the footage from each camera on a multi-camera shoot to be easily synced up in the edit room. The loud “clap” sound that is made when the stick slams against the board creates a visual waveform on the audio line of the editing system.  This allows the editor to easily line up all of the footage saving both time and money.  In order for this to really work, ALL CAMERAS must simultaneously shoot the clapboard when it makes the “clap.”  If you find yourself without a clapboard, you can just clap your hands together or slap a clipboard loudly.  As long as it makes a loud, sharp noise and all of the cameras are rolling on it at the same time, it will work.  If you need to “slate” the shot, in other words, share the written information on the clip board, you can verbally say whatever information needs to go with the take.

One common mistake are just showing one camera the clapboard.  Although each camera can hear the “clap” sound, seeing the visual of the stick hit the board on each piece of footage can really speed things up in edit.  Another mistake is clapping the board to each camera individually.  I’m not sure what that is supposed to accomplish.  I supposed if the clapboard has digital time code, it could help line up the footage but you will still miss that synchronized “clap.”  Either way, you end up frustrating your editor more than anything.  A frustrated editor is not creative nor very fun.

A word about the iPad clapboard app.  It doesn’t work very well for two reasons.  One, to make the clap sound, you have to push a little button. By doing so, you cover up the iPad screen which takes away your visual.  Two, the clap just isn’t that loud.  Sometime there can be too much technology.  An old-fashioned hand clap works better.

In some instances when the cameras are in shooting position, they are unable to see the clapboard at the same time.  For instance, one camera may be shooting an arrival from outside a house and one from inside the house. In that case, bring the cameras together, start rolling and “clap” the clapboard.  Then move back into position while the cameras are still rolling.  When all else fails, do the best you can.

For more production insights, visit the How To category.

9 Jun

Playboy Foundation offers Documentary Completion Grants

Posted by docsandtv in Grants and Funding, How To's, Tools and Resources. Tagged: , , , , , , , , , , , .

“The Playboy Foundation is interested in social change documentary film projects that have nationwide impact and scope. Our grants are modest and range from $1000-$5000. For that reason, our film grants are limited to projects in post production and distribution.”

Click here to find out more.

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

8 Jun

Shasha Scripting $100,000 Competition Grant

Posted by docsandtv in Grants and Funding, How To's, Tools and Resources. Tagged: , , , , , , , , , , , , , .

The Shasha Scriptwriting Competition Grant is open for citizens of the United Arab Emirates, the Middle East or North Africa.  The grant, offered by the Abu Dhabi Film Commission, is for $100,000.  Scripts are accepted in Arabic and English.

“The Shasha Grant brings much needed exposure to emerging talent in the fast-growing Middle Eastern film market and underlines our commitment to develop and promote the next generation of filmmakers from the region, and by accepting Arabic language scripts we aim to encourage more Arabic entries,” said Eissa Saif Al Mazrouei, Special Projects Director, Abu Dhabi Authority for Culture and Heritage.”

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

1 Jun

Create Great Looking Television Interviews

Posted by docsandtv in How To's, Television Production, Writing for Television. Tagged: , , , , , , , , , , , , , .

Conducting a television interview may sound easier than it actually is.  Yes, you need an interview subject, a camera and a microphone.  But if you want your interview to look professional or at least not be distractingly bad, you’ll have to take a few things into account.

  • Lighting –  Lighting is perhaps the most crucial element to creating a nice looking interview. If you are shooting indoors, you’ll want to have a couple of sources of light that you can manipulate.  A key light is aimed at the interviewee to make them stand out from the background.  A fill light can add shadow and depth to the interviewee’s face but is not always needed. A back light adds depth and texture to the background.  A poorly lit interview will look drap and murky.  If you are shooting outdoors, be aware of the sun position.  The noon day sun can sometimes be too bright and cause harsh shadows.  An overcast day can be just right for a cleaner look without shadows. A nice white board or silver shiny board can help you manipulate how the sunlight plays on the interviewee’s face.
  • Wardrobe – What is your interview subject wearing?  If it is a sitdown interview and you’ll only be shooting from the shirt up, make sure the shirt is a plain shirt. Blue or bright, solid colors work best. Stay away from all black, all white or busy patterns.  They make the camera do funny things.  Let the interviewee know ahead of time if their pants or shoes will be seen so that they can dress accordingly.  A nice outfit with scuffed up shoes can be distracting.
  • Make-up – Let your interviewee know if you will be providing make-up and/or hair services.  If not, bring some translucent powder or oil absorbing sheets to keep the shine down.  Use powder on bald heads too.
  • Angles – Do not set your interviewee against a flat wall.  It makes the interview look flat and therefore visually boring.  If you only have a flat wall, say a brick wall for example, positional the interviewee at an angle that will allow the wall to veer away from the subject in one direction or another.  Shooting the interviewee from a bird-eye (from above) or worms-eye (from below) can be fun and interesting.
  • Backdrops – Interesting backgrounds can say a lot about your interviewee.  You may want to keep it simple for quick, information interviews. But for documentary style interviews, consider placing the interviewee in the surroundings that apply to their storyline.  For example, a basketball player may be placed in a gym or teacher placed in a classroom.  Sitdown interviews in offices or living rooms can get boring.  Try adding some interesting props to the background or foreground.  Lamps, books, computers and flowers or plants are pretty standard and easy to come by.  Trophies, hats, pictures, statues and toys can often help convey the theme of the interview.  I’ve even used the corner of a chair to break-up a plain-looking space.
  • Comfort Level – Don’t forget to make your guest as comfortable as possible.  If they guest is uncomfortable, it will show on their face.  A comfy chair is a must-have for long interviews. Make sure to have some water on hand to keep the interviewee hydrated.
  • Chairs – In addition to a comfy seat, a stationary seat is recommended.  Seats that roll around or swivel allow your guests to move all over the place within the frame.  Also, if the chair back is too high, it may make your guests to look stiff.  Too soft and the guests may slouch.  That said, stand-up interviewees can help boost the interviewee’s energy. But I never have guests stand for more than 30-minutes.
  • Be Prepared – Write down your questions before the interview.

Also remember to have fun. You’ll get more out of your guests and your shoot that way.

27 May

“In” Script Cut Sheet to quickly tally duration

Posted by docsandtv in How To's, Television Production, Templates, Tools and Resources. Tagged: , , , , , , , , , , , .

Look for other templates and samples in Templates Category.

You can purchase this downloadable Cut Sheet template for ONLY $0.99!

This template can be changed to fit your time tally needs. Purchase will be emailed to you.

                        

This is my favorite tally sheet because it is so quick and easy. It let’s me know how much time is going “INTO” my segment, show or video.  I use it a lot for discussion series where the graphic packages and music are standard on every show.  The “in time” is subtracted from the “out time” to give the duration of the clip. All the clip run times are added up to give the total duration of the show.

Look for other templates and samples in Templates Category.

You can purchase this downloadable Cut Sheet template for ONLY $0.99!

This template can be changed to fit your time tally needs. Purchase will be emailed to you.

                        

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