Learn directly from Producer Michael Wormser, whose online distribution projects have reached over 30 million viewers! Never has there been a more opportune time than now for filmmakers to directly reach a global audience. YouTube has not only provided the mechanics to do so, but also provides the bandwidth, platform, and global audience - all at the low low cost of FREE hundred dollars! Yes, that's right, FREE. Thousands of people across the world are using this platform to earn a living telling their stories, creating content based on their vision and their voice… Now it’s your turn to help carry your message to the masses. Many people create wonderful YouTube channels that go unseen. Stage 32 is here to help make sure that doesn't happen to you! In this Stage 32 Next Level Webinar, your host Michael Wormser will teach you how you can harness YouTube to create your own network of content for your film and build a massive fan base. Michael will show you brick by brick how you can turn your film into tangible content, culminating that into a functioning channel, and ultimately helping you get to your target goals and have your film reach an audience of millions of viewers. Your host Michael Wormser operates Level 10 Films, a film and digital production company. Prior to that he served as Head of Production at Maker Studios, Executive Producer at BlackboxTV and recently partnered with YouTuber/Actor Joey Graceffa to produce the hit web series Storytellers, which has received over 6 Million views to date. Michael also produced the YouTube Movie Smiley, starring Shane Dawson and Toby Turner, that currently boasts over 30 Million trailer views, and the Hulu series Tease for Fox Television Studios.
Whether you’re a writer, an actor, a cinematographer, an editor, sound designer, a colorist, a VFX artist or an animator, every project you work on is going to have to pass through post production on the way to fulfilling its creative promise. Post-production is an intricate, sometimes lengthy and always critical process necessary to turn a bunch of shots, moments, and ideas into a singular and polished product. This is no easy task, and doing it well can lead to strong and ongoing career as a post producer. And if you’re a filmmaker or creator in your own right, peeling back some of the mystery of post can help inform your own art and allow you to better create. Despite how vital post-production is to any project, it’s often enigmatic and not fully understood. When most people think of production, they only think of a film set and are less able to visualize what comes after the film set is over. The concept of a dark room where so many decisions are made that determine a show’s eventual success is foreign to most. A successful Post Production process requires an elaborate choreographed dance between creativity, technology, time and money. Understanding what that Post Production process entails, and how your skills can best fit into it, is critical towards making whatever you do creatively more successful in the end. Let’s explore how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape. Brad Carpenter is an Emmy nominated producer who for over fifteen years has built a stalwart reputation as one of television’s most sought after and effective producers specializing in post-production. Brad has overseen a slew of massively successful series including HBO behemoths BOARDWALK EMPIRE and SEX AND THE CITY, Showtime’s hit NURSE JACKIE, USA Network’s critically acclaimed THE SINNER, FX’s Emmy-winning FOSSE/VERDON and most recently LITTLE VOICE for Apple TV with executive producers J.J. Abrams and Sara Bareilles. Brad continues to produce upcoming TV shows, including the new TV fantasy drama INK MAN, currently in development. Few producers out there are as practiced and knowledgeable about the intricacies of TV post-production as Brad, and as a long-time member of Stage 32’s community, he’s thrilled to share what he knows. Brad will offer a comprehensive deep dive into the process of delivering television series for post-production and will share a bevy of tips and strategies of how to maximize success and bring your team together. Included in his exhaustive deep dive will be tips on how to work with your showrunner, navigating the relationship between the studio and network, building and breaking down your post production schedule, navigating the edit and finishing process, building your post-production team, working with actors and a straightforward discussion of what a day in the life of post actually looks like. Along the way, Brad will offer stories and case studies from his experience with well-known shows like SEX AND THE CITY, NURSE JACKIE and FOSSE/VERDON. Brad will leave no stone unturned in this all-encompassing rundown of TV post-production, so expect to leave with a full picture of how this field works and how best you can approach it yourself.
The ultimate goal for every filmmaker is to ensure that audiences see your film. You may want recognition, notoriety, or maybe as many “likes” as possible however, from a practical business perspective, you also want to make your investor's money back – or, even better, to make a profit. The path to reaching this sometimes-elusive-outcome is through the distribution process. And, in today's changing distribution landscape there are many different types of offers that can be presented to you as a filmmaker. Truthfully, understanding what you're signing up for with your film's distribution can be downright confusing. Getting a distribution deal for your film is exciting for you as a filmmaker. You've reached the holy grail and a distributor is interested in releasing your film so you can finally reach an audience. But, before you sign on the dotted line there are many factors you need to think of. Distribution contracts can show varying types of clauses that could potentially harm your film's chance at making a profit. And, let's face it, if you can show your investors a profit on their investment, they'll likely want to invest in more films with you at the healm. So, how do you know what clauses to look out for and what you can negotiate so you give yourself the best chance of not only gaining an audience, but also getting pad? For the last 15 years Bryce C. Campbell is one of the leading distribution and marketing executives in the industry who's overseen the distribution of several Oscar-winning films. Bryce got his start working at Miramax Films and Open Road Films and has worked on hundreds of independent films securing distribution and negotiating contracts. He especially excels in the digital distribution arena. Bryce is heavily involved in the post production aspect of filmmaking working collaboratively with the marketing team to provide data-driven insights on a wide range of marketing components such as one-sheets, trailers, and special events. One of his key interests is negotiating distribution deals with filmmakers and leveraging industry analytics to provide insight into box office potential for each project. And, he's bringing all these years of knowledge to Stage 32. Bryce will help you understand the different types of distribution options available to you in terms of theatrical, SVOD, Day and Date, Foreign and Digital. He'll help you manage realistic expectations when considering the potential for each of these with your film. You will learn how to design your budget and casting in harmony with distribution goals. Then will take you through the anatomy a distribution contract and analyze contract clauses for optimal benefit and to avoid pitfalls. You will learn how to apply this knowledge to negotiate the best possible distribution contract for your film. And, most importantly, Bryce will give you 2 real distribution deal contracts to review so you can understand what to look for and how to apply that to your own deal! "Mind blown. The examples are extremely helpful. I had no idea that recognizing some of the clever way things are written in the contract could potentially harm my chance to make money back on my film." - Mike S.
This is the 1st installment of the Stage 32 + Bondit Media Capital Masterclass featuring Matthew Helderman (CEO of Bondit Media Capital) and Robert Ogden Barnum (Co-Founder of Fortitude International and e2b Capital).
More and more, storytellers are being asked to present more than just a script when going out to investors or production companies. Whether you’re pitching a limited series, a feature, or even a doc, executives and investors want to have a sense of what your project will be, beyond just words on a page. What will it look like? What will it feel like? Execs want a visual representation of what the project is—even if you aren’t the director. For this reason, understanding how to put together an attractive pitch deck will give you a distinct advantage as a director, as a writer, as a producer, or as any creative in TV and film. There are people out there who are incredibly skilled with programs like Photoshop or Lightroom and, for those people, creating a pitch deck that will help sell their show can be a snap. But for the average person, these apps are daunting at best and, at worst, completely confusing and overwhelming. However you don’t need to spend hours learning how to use high-end software, and you certainly don’t have to put down a bunch of money for a designer. Anyone can create an amazing pitch deck with basic software and one or two simple apps on your phone. As long as you know the rules and best practices there really aren’t barriers to keep you from making a great looking pitch deck and getting that project sold. Shaun O'Banion is the founder of production company Ravenwood and works as a post production project coordinator on some of the industry's leading films in recent years including JOJO RABBIT, TERMINATOR: DARK FATE, THE AFTERMATH and OPHELIA. O’Banion produced DAKOTA SKYE which became a cult hit and remained in the Top 100 Most Viewed on Netflix. He produced GIRLFRIEND, the first film in North America to star an actor with Down Syndrome in the lead role. The film premiered at the Toronto International Film Festival, sold to Strand Releasing and won O’Banion an IFP Gotham Award. He joined the Producers Guild of America and co-produced THE AUTOMATIC HATE which made its World Premiere at the SXSW Film Festival. The film was released theatrically by Film Movement. Through his career, Shaun has become well versed in positioning his projects for success and understanding the best ways to pitch and sell them, including creating knock-out pitch decks. He’s ready to share what he’s learned and empower even the most tech-illiterate members of the Stage 32 community. Shaun will teach you how to use basic software and apps to craft an attractive pitch deck on your own without having to hire a graphic designer. He’ll begin by going through the basics of what a pitch deck is, how they help get projects sold and what they normally look like. He will offer provide examples of effective pitch decks. Next, Shaun will delve into how you can create an effective pitch deck on your own without fancy tools. He’ll discuss getting set up and outline what you need, including the tools and software you should consider using. Next he will go over forming a plan for the pitch deck’s layout ahead of time and the ways to best organize and prepare before diving in. Then he will teach you how best to visually convey the tone of your project in your pitch deck and how to create a flow within it. Shaun will talk about choosing images for the pitch deck, where to find them and how to choose one over another. He will then go over choosing when to use words versus pictures and how to employ visual elements like fonts to break up your document for maximum impact. After teaching you what you need to know about designing a great pitch deck, Shaun will demonstrate it all by working with the registrants in creating a brand new pitch deck in real time, live and on-screen. He will specifically focus on creating with you a general image for the overall background, graphics for the title page, setting page, main character page, supporting character page, and episode page. Shaun will also provide registrants with a resource sheet outlining the tools and software he uses for his own pitch decks. After going through this exercise with Shaun, you’ll never need to hire a graphic designer again. Like what you heard from Shaun during this webcast? Send your script and speak to Shaun for an hour by clicking here. Praise for Shaun's Stage 32 Webinar: "Shaun O’Banion made creating a pitch deck seem downright easy and fun. Before today, I was absolutely dreading it as my skills with graphic design and editing are next to zero. Shaun was so generous with his time and stayed on for an entire extra hour to go over more and have the Q&A which was incredibly kind." -Margaret M. "Just fantastic. Could have spent the whole day in this!" -Dan G. "The best I've taken" -Timothy B. "Amazing detail about specific ways to use the technology and also very creatively inspiring. Loved the as you go, how to way of doing this! I was able to follow along and create my own document and experiment as he spoke!" -Katie B. Please note that this webinar will focus on the graphic visual elements of an effective pitch deck. To learn more about the content and storytelling that goes into a pitch deck, we recommend checking out Ewan Dunbar’s TV Series Pitch Deck Webinar.
As an independent filmmaker, screening your project at a film festival may be the best opportunity to put your film (and yourself) on display. It remains a powerful platform for filmmakers of all levels to have their work seen. In fact you’d be hard-pressed to find a successful filmmaker working today who didn’t get their start at a festival. It’s where films get sold, where talent gets discovered, where reputations are crafted, where communities are built, and where the best networking can happen. And with the current movement away from the theatrical model and towards streaming, festivals can also often be the only possible way to physically show your film on the big screen to an audience during its life cycle. Film festivals are indeed often the next desired destination for a filmmaker, but it’s not always easy to get in, even with a great film. It can be disheartening after finishing a film and investing so much money and resources into it to realize there is still more money to be spent in going the festival route. The act of submitting to festivals can set you back hundreds, if not thousands of dollars simply through festivals’ submission fees. It’s probably going to add up no matter what, but it can set way pricier without a plan in place. It’s common for filmmakers ready with a film to more or less blindly submit to festivals: “Sundance? Check. Tribeca? Check. Cinequest? I heard that one was good, let’s do it.” Yet just because you’ve heard of a festival, just because it’s a legitimately great festival, doesn’t mean it’s the right fit for your project, and it doesn’t your film is the right fit for them. Successfully navigating the festival landscape requires a lot more effort and a lot more time than just pressing that submit button. Yet doing the research, understanding your goals, and carefully building your strategy will not only yield more positive results, but will also save you money on unneeded submission fees in the long run. For nearly a decade Harrison Glaser has been immersed in the professional film industry working for Austin Film Festival and Stage 32. As Austin Film Festival’s Film Competition Director, he programmed the festival’s films for five years and discovered his passion for identifying deserving projects and championing exciting and unrecognized talent. During Harrison’s tenure as AFF’s Film Competition Director, over 100 films he programmed went on to secure distribution, six short films were later nominated for Oscars, and one that he qualified ultimately won the Academy Award. His work with Austin Film Festival and Stage 32 allows him to champion undiscovered storytellers and help them amplify their work. He also serves as a professional moderator for many different film related industry panels both online and offline. Through his many years leading AFF’s film selection and working closely with other film fests, he has become intimately familiar with the inner workings of larger festivals, as well as the common missteps many filmmakers make when working with them. He’s excited to share what he knows exclusively with the Stage 32 community. Harrison will walk you through how best to develop your film festival strategy and choose the right festivals for your film, well before you start submitting. He will begin with the basics of why you should or shouldn’t be submitting to festivals in the first place, and how to best think of festivals as a tool. He’ll then lay out what the festival landscape looks like, including what makes up the “Festival Circuit”, what Tier 1, Tier 2, and Tier 3 festivals are, and the lowdown on both niche festivals and destination festivals. Next he will delve into the importance of having your own specific festival goal and how to find it. He’ll provide six examples of valid and common festival goals and how best to adjust your submission strategy for each. Harrison will go deep into how to research festivals before submitting and what you should be looking for before you should feel comfortable paying their submission fee. He’ll also offer various strategies to choose the right festival and giving yourself the best advantage in getting accepted, including considering niche festivals, finding your ‘in’ and developing your network. He’ll spend some time explaining how scam festivals work and what you can do to spot them and stay away from them. He will offer some tips and context of what you should do if you film is ultimately rejected from one of your top choices, and also what to do if your film is ultimately accepted. You will leave with a slew of strategies to tackle your festival run more strategically and more effectively. Praise for Harrison's Previous Stage 32 Webinar: "This was great. Very comprehensive about festival strategy and works for shorts and features. Probably the best content about this topic I've seen" -Paige F. "The teacher really knew his subject. He was also friendly & warm and made the students feel relaxed. A well spent event and I learned so much." -Toni M. "Appreciated the way Harrison did not gloss over any point — he spoke thoroughly about everything." -Elease P. "Very knowledgeable, open, easy to follow" -Marilyn L.