Kimberley Browning is an independent filmmaker, the Associate Short Film Programmer at the Tribeca Film Festival and the founder of the long-running short film screening series Hollywood Shorts. Kimberley is also the Executive Producer of HBO ACCESS Directors Fellowship, the network's program developing and launching underrepresented voices into episodic television. Formerly a short film programmer for both the Los Angeles Film Festival and Guadalajara International Film Festival Los Angeles, Kimberley has a long history of working with film festivals and continues to serve as a festival consultant for many independent filmmakers. Kimberley has built her storied career around elevating new voices and empowering them to get their projects out into the world. Full Bio »
The backbone of the entertainment industry was shaken to the core after the trades announced one of the major festivals - SXSW was going to cancel its in-person festival. Shortly after festival after festival had to adapt to a new way of doing things - should they present their festival live and take a chance of it being cancelled? Or, should they present their festival virtually bringing on a new slew of challenges? Navigating this "new normal" has rocked the industry and has left many filmmakers scratching their heads about what it all means. Should you release your film in this new format? Or should you hold onto it and wait it out, with the fear of another year going by without it seeing the light of day?
Despite the ongoing shift to a virtual, watch-from-home and hybrid model, film festivals continue to serve as an important platform for your film to make its debut. Your film can continue to find attention, distribution and other successes from participating, yet there are new questions and considerations you should factor into evaluating which festivals to submit to. The current spirit of cooperation and collaboration between festivals during the pandemic has radically changed, creating lots of new and exciting ways you can benefit from the circuit. But, with the excitement, there is also a lot of confusion about premiere status, virtual screenings vs online screenings, and more. Outside of getting your film into a festival, there are things you can learn from what the successful festival films are seeing that you can apply to your own film and its release. Whether you are a feature filmmaker or a short filmmaker you need to understand and embrace the new practices emerging among festivals presenting virtual and hybrid events. It’s time you take stock of the situation.
Kimberley Browning is an independent filmmaker, the Associate Short Film Programmer at the Tribeca Film Festival and the founder of the long-running short film screening series Hollywood Shorts. Kimberley is also the Executive Producer of HBO ACCESS Directors Fellowship, the network's program developing and launching underrepresented voices into episodic television. Formerly a short film programmer for both the Los Angeles Film Festival and Guadalajara International Film Festival Los Angeles, Kimberley has a long history of working with film festivals and continues to serve as a festival consultant for many independent filmmakers. Kimberley has built her storied career around elevating new voices and empowering them to get their projects out into the world.
Kimberley will delve into how filmmakers are finding success with their new films during the pandemic and how you can use film festivals as well as other practices to successfully release your own short or feature film. She’ll begin by explaining how you should be setting your gals and building your strategies to get your film out there. She’ll talk about new practices to build an audience, strategy essentials—with or without COVID—and how you should now be defining success and whether it needs to evolve due to the pandemic. Next Kimberley will focus on film festivals and show you what the new festival landscape and vocabulary looks like. She’ll explain what the best digital platforms festivals are utilizing and which to avoid. She’ll also teach you what ‘geocaching’ is and how to determine your geofencing options. She will go over DRM protections and how to keep your film safe when screening virtually and will talk about the difference between virtual screenings and online screenings. Next Kimberley will delve into the new film festival calendar, how the overall festival circuit is shifting due to date changes and postponements. She’ll give you the rundown of how to read small print before submitting to festivals to make sure you know what you need to know ahead of time. She’ll walk through how you should revamp your festival strategy to better navigate COVID and how you should now be communicating with a festival team. Kimberley will also talk about how to now navigate premiere status with festivals and explain how virtual festivals impact your film’s status and its ability to get distributor attention. She’ll also talk about how media and distributors are now navigating new rules in 2020 to find work with films. Next she will teach you how to navigate a virtual festival if your film is accepted, including how to promote your film to a virtual audience and how to build relationships and make connections without in-person events. Beyond festivals, Kimberley will give you strategies to promote and market your film to a general audience for its virtual release including if and how to work with publicists and new social media strategies to start employing. Kimberley will talk about other release strategies for your film beyond film festivals. She’ll give you tips on how to host your own independent online premiere. She’ll also give you a rundown of how to find distributors in a distanced world and how to operate long-standing marketplaces like AFM that are now turning virtual. Finally Kimberley will go over ways to self-distribute your film during quarantine, including if and how to work with aggregators to maximize your release. This is a tough time to release your film—rules and practices have changed across the board—but it’s still possible to find success and Kimberley will show you how to achieve this with your own film.
"The traditional paths to getting attention for our films has been drastically changing in recent years, and now the pandemic has upended everything. It is so important for filmmakers to stay encouraged and innovative in getting our work out to the world right now. Let's explore how to build and nurture audiences for our films during these challenging times."
Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute broadcasts that take place online using a designated software program from Stage 32.
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A: No, you can participate from the comfort of your own home using your personal computer! If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar.
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Q: What if I cannot attend the live webinar?
A: If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar. If you cannot attend a live webinar and purchase an On-Demand webinar, you will have access to the entire recorded broadcast, including the Q&A.
Q: Will I have access to the webinar afterward to rewatch?
A: Yes! After the purchase of a live or On-Demand webinar, you will have on-demand access to the audio recording, which you can view as many times as you'd like for a whole year!
Sorry, this lab is filled. Keep checking back Stage 32 Education for upcoming labs. Despite the quickly shifting landscape, and the uncertainty much of the entertainment industry is currently facing, there is still no better time to break into television than right now. Shows are continuing to get greenlit and writers are continuing to get staffed. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Peacock, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. We’re in the midst of a content gold rush and more people than ever are looking for and buying great ideas and great scripts for their networks and platforms. If you have a great idea for a television show, there is absolutely a path forward, especially if you know how to navigate this new landscape. The opportunities are plentiful and the prospects have never been more exciting, but to get your television project greenlit, there are a few things you need to have down pat. Obviously you need a great idea—not just an idea that’s interesting and unique, but one that can sell. You also need a standout script around that idea, one that reads great and will make network and streamer executives stop, take notice, and want to read more. Yet an idea and a script aren’t enough to get that TV show made. You’ll also need to be able to deliver a convincing and memorable pitch, complete with an outstanding pitch deck and documents, and you need to be able to package your project to be more sellable to your dream network. These elements don’t necessarily go hand in hand, and different skills are necessary to accomplish each, but all are fully attainable and within your grasp, especially the right knowledge and guidance to help get you there. Raquelle David is a Producer and Literary Manager who has sold shows to Netflix, Amazon, Film Nation, eOne, and many others. Her clients have credits including SICARIO, MAD MEN, OUTLANDER, DOWNTON ABBEY, HELL OR HIGH WATER, THE LIBRARIANS, SHAMELESS, and IRON MAN. Raquelle has worked across independent film and television as a producer as well. Her multiple film credits have garnered a number of accolades including nominations for Palme d’Or at the Cannes Film Festival, Australian Academy Cinema and Television Arts (AACTA) Award and the Screen Producers Australia Award. Raquelle previously worked for Goalpost Pictures, Seven Network, Screen New South Wales in Australia and Rhombus Media in Toronto, Canada, under the tutelage of producer Niv Fichman (THE RED VIOLIN, ENEMY, BLINDNESS). Through her career, Raquelle has helped countless writers pitch their projects or get staffed on shows, and knows better than most what it takes to get a project off the ground and greenlit. In this advanced level and exclusive six-session lab (no more than ten students will be admitted), Raquelle will work directly with you in a class setting and also during one-on-one sessions to help you get your television project off the ground and set up for success. To do so, Raquelle will guide you through selecting a concept—either an original idea or based on existing IP—and getting your TV pilot script ready. She will then help you get your pitch and pitch document ready, and will teach you how best to package your project, including finding a good producer and working with showrunners. Finally, Raquelle will go over how best to protect your IP and ownership and how to work with reps and understand the roles and revenue splits when pitching TV. If you already have a concept or even a completed pilot, Raquelle will use the same tools to help you hone and sharpen your material. Plan to leave this lab with your TV project fleshed out and improved, an effective pitch and pitch document, a plan to properly package the show, and a slew of strategies and tools to hit the ground running and finding success. WHAT TO EXPECT This lab is designed for intermediate writers and producers looking to get their individual television project ready to pitch and sell to networks. This is an in-depth, practical, and detailed lab with one-on-one time with the instructor and significantly more content than a standard 90-minute webinar. ***Only 10 Spots Available. No exceptions*** You will be given exclusive and confidential handouts that will accompany the lessons and that you will be able to hold onto after the lab ends. This lab will consist of six sessions occurring twice weekly for three weeks, each roughly 90 minutes in duration. In addition to the lessons where Raquelle teaches the class, you will have the opportunity to ask her questions during each session as well as multiple chances to speak with her directly about your specific project. Plus, to stay motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the TV project development process. To see the full TV project development lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with a manager and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at firstname.lastname@example.org for more information Plus! Raquelle will also provide you exclusive, confidential and helpful documents for you to download and use for your own projects including: Option Agreement Shopping Agreement TV Pitch Deck Examples TV Pitch Template TV Pilot Examples Current Network needs (current list of buyers and what they’re looking for) Current POD deals for TV Comprehensive Showrunner list
It is clear that this is the golden age of television with one incredible series after another coming out on cable, streaming and network. If you're interested in breaking into the world of television, there is one key position that you must know the ins and outs of in order to understand the set - a TV Executive. An TV Executive plays a huge role in a television production, serving as more than a key developer of story, but also a liaison between various departments on set. We've brought in veteran executive Stuart Arbury from Ramo Law (Ramo Law has worked on Netflix's Altered Carbon & Chef's Table, ABC's This Isn't Working, Hulu's Battleground and more). Stuart himself began his career at Captivate Entertainment, Dimension Films and Canvas Media Studios. Arbury was the on-set TV executive for MTV's Scream TV series for two seasons, which was based on the classic horror film franchise. In this webinar, Stuart will walk you through an explanation of the television eco-system and share war stories of his time during Scream. Having worked with various department heads, Stuart will also share tips on getting started in Hollywood on a television production. You will walk away with a clear understanding of a TV executive's role and how it relates to your part of the business, whether you're a writer, producer, director, actor or crew.
Many beginning filmmakers, even many accomplished ones, remain confused about “the market”, when it comes to short films. But the true question is not “Is there a market?” but rather “Is there a market for me, my film, in the short film world?” The answer is an unconditional “Yes.” Short films are more popular than ever. With more and more film festivals catering to short films, increasing outlets for distribution, and online platforms offering the promise of revenue sharing models, the appeal of making a short film is on the rise. But how do you market your short film? How do you increase your chances of not only being seen, but even making a return on a short film? The answers are out there, if you know the right questions to ask. David Paterson, is an accomplished writer, director, and producer of short films that have been seen in over 100 film festivals throughout the world. David knows that the "marketing" of your short begins well before FADE IN. And as an advisor to four major film festivals as well as performing as a juror on several short film contests, David is an expert at the most successful ways to market your short film. David will discuss not only the many marketable elements of a short film, but how you can develop and cater that film to best benefit you as a writer, filmmaker, or producer. He will show you how, by focusing on your talents and profession within the short film, you can maximize "the bang for your buck". Further, David will cover the holy grail that all filmmakers want to master: Distribution, Recognition and Monetization of their short film. None of these three objectives come without pitfalls. In comprehensive fashion, David will walk you through those pitfalls, how to avoid them, and put you on the road to recognizing and obtaining that perfect "market" for your short film. "I find the market for short films daunting. While I love the process of making a film, getting it seen and the idea of making money off of my work has always been a black hole for me. This information made me realize that I've been taking an "all or nothing" approach instead of a targeted one." - Maya V.
With the gap between independent films and studio films constantly growing, it has become quite a challenge for independent producers to finance their films. As a result, more and more producers are looking outside of their home territories for additional sources of finance. Europe, in particular, is very attractive for international producers: not only does it have diverse landscapes and excellent crews, but the different European countries offer fantastic funding and tax incentive schemes that can be accessed by foreign producers to finance their films. More and more filmmakers, producers, and even screenwriters are expanding their worldview by tailoring their projects and stories to make them more attractive for a potential European production and co-production. The fact of the matter is there is gold to be mined in this approach. Over the last few years, co-productions with European countries have not only become more common and successful, but the financial incentives have grown tremendously. Finding the right partners and understanding the landscape is not as difficult as one might thing. In fact, the information is readily available for those willing to put in a little legwork. Anouk van Ghemen is a freelance financial consultant with an emphasis on film funding and tax incentive schemes in Germany and the rest of Europe. With her company ONE FOUR FILMS she works for both national as well as international clients, such as Sony Pictures Releasing, Radical Media and Wild Bunch Germany. Overall, Anouk has been involved in more than 40 film and media projects. Anouk holds a B.Sc. in International Economics and Management from Bocconi University in Milan. She began her career in the film industry working as Assistant to Producer in Berlin and Paris and later became responsible for the funding and financing of a Berlin-based company‘s international films. Notable projects include the Indian-German co-production Don 2, the French-Canadian TV series Transporter, and the Korean thriller The Berlin File. Anouk will take you into the world of European co-productions with great detail and flair. She will start by explaining European vs. international co-productions, bilateral vs. multilateral co-productions, co-production treaties and cultural tests. She will discuss the pros and cons of co-productions and how to identify whether your project fits with the upside potential for a European co-production. She will dive into the important aspects of your script and overall budgetary needs including story, locations, crew, overall costs and more. Then she will get into the most important questions: How do you get the money, how much money can you get, and what will make your application for funding and incentives get approved above all others. Anouk will also teach you how to find, approach and close the right partners to assure your European co-production is a winning one! "A complete eye opener. I had no idea these options were available to me. It's like moving from a room where the walls are closing in to an open field. The possibilities are endless." - Steven C. "Invaluable information." - Valerie L. "I have 3 projects in various stages of development that have all but stalled. All 3 could certainly be rewritten or tweaked to fit a European co-production model. We'll be starting on doing just that tomorrow." - Ricardo C. "My job as a producer just got easier." - Patricia M.
The UK has a booming screen sector with world-class production facilities that have recently been home to film and TV behemoths like STAR WARS, AVENGERS: INFINITY WAR and GAME OF THRONES, as well as a thriving independent sector that has supported filmmakers like Steve McQueen, Andrea Arnold, Ken Loach, Joanna Hogg, Clio Barnard, Mike Leigh and Lynne Ramsay. Chances are high that many of the films and TV shows you’ve loved in the past year came out of the UK. It goes to show that whether you’re based in the UK or elsewhere, understanding the UK market’s unique ecosystem and knowing how to navigate it and take advantage of the opportunities available – from production and financing right through to the distribution and exhibition – is essential and can open endless doors for you in this increasingly global, yet competitive industry. The UK and US industries are closely aligned due to a common language, frequent co-productions and an increasing cross-pollination of talent. But what sets the UK market apart from its US counterpart is a strong public funding system, which supports the independent sector and nurtures new talent. So how do you access this support and what kind of projects are eligible? And what about commercial financing options? How does TV fit into this? And what about Brexit and its impact on co-productions? Whether you’re a UK native or an international filmmaker, producer, it’s high time to gain a comprehensive understanding of the UK’s role in the global film and television industry. In many ways, with so many creatives focused on the American market, this is open yet unexplored territory that can be explored and mined for your gain. Over the last 15 years Rowan Woods has worked across almost every sector of the UK film industry, from development to journalism, via distribution, festivals, exhibition and a long stint at the BBC. She currently splits her time between the British Council, where she acts as the specialist liaison between the UK production sector and the international festival circuit, and the London Film Festival, where she programs episodic work and industry panels. Over the years she has worked with BAFTA, BFI, EIFF, LSFF, BFI NETWORK, Curzon and Radio4. She also works as a freelance development and acquisitions consultant and is frequently found moderating industry panels and talent Q&As, including for BFI, BAFTA, IFFR and SXSW. Rowan’s work has given her a deep and comprehensive understanding of the UK film and television industry and is excited to share what she knows exclusively with the Stage 32 community. Rowan will give you an in-depth overview of the UK sector, outlining the key players, the opportunities and challenges, and providing you with the knowledge and confidence to navigate it successfully. She’ll begin with a general introduction of the UK market including what makes it unique, key facts and figures you should know, and how to understand the overall structure. She’ll then teach you about their main sources of funding, both public and private, and how funding works with international co-productions. She’ll also discuss the funding opportunities available for new talent. Rowan will then outline the key film institutions of the area and what they do. She’ll then discuss the support structures in place for producers and will delve into the key players in the sales agent space and how to determine which sales agent is right for your project. Rowan will go over the key distributors in the region and what the exhibition landscape looks like in general. She will also talk about the role of online platforms today and how the UK box office operates. She will then discuss the role of critics in this ecosystem and the key critical voices. Rowan will teach you about the major film festivals in the UK and how to determine which is right for your project, whether your project is a feature, short, narrative, or documentary. She’ll also talk about good marketplaces and forums in the area. She’ll go over the most important people in the UK industry right now and will then delve into the landscape of UK television, including both public service broadcasting and streaming services and key TV production companies. Rowan will outline for you the key opportunities in the UK marketplace, as well as the key challenges that go along with them. Finally, Rowan will give a rundown of how the industry has been altered by Brexit, as well as by COVID-19. Praise for Rowan's Stage 32 Webinar "It was great information and an amazing overview of how the UK industry works. Thank you so much." Marisé S. I was vague about how things get into production in the UK, but have a much better idea now. Between the seminar and the resources to fill in the gaps, I feel a lot more equipped. -Jonathan H. I was very impressed by the comprehensive overview of the UK industry and how well Rowan presented it. I'd love to hear more from her in the future. -Carolyn K. Comprehensive survey. Rowan knows her stuff, and has walked the walk. She is a confident and fluent presenter: she can talk the talk -Stephen P.
In very little time, drone photography has become widely—perhaps too widely—used in countless films, television shows, commercials, and other media projects. And along with this wide adoption of drones has come a demand for those who can successfully and artfully operate them. This presents a potentially lucrative and rewarding opportunity for cinematographers looking to expand their reach and build their skill set. Yet with the clear overuse of drone photography in media today, each to varying effects, it’s evident that not all drone shots are created equal, and standing out requires a deeper level of skills. Adding drone cinematography to your film, TV or new media project can breathe new life into shots that may, in the past, have cost your budget heavily. But finding success with drones requires more than knowing simply how to pilot one; a cinematographer needs to understand how to properly use the tool and work with clients and artists to get those perfect shots. The truth is, for as often as drone camerawork is used in film, television and new media today, you can still stand out as a cinematographer in a big way by using drones smartly, artfully, and effectively. But what turns drone photography from mediocre to great? And how can you use this tool to stand out and not only enhance your current project but also help you get more work in the future? Chris Tangey is one of the most sought after drone cinematographers in the world. His impressive career as a cinematographer has him working for Netflix, Warner Bros. Columbia Tristar, BBC, National Geographic, Discovery, Lonely Plant and more. He recently won "Best Aerial Cinematography" in the European Cinematography Awards, and both "Best Drone" and "Best Scenography" In the New York International Film Awards. He was also awarded a Jury Commendation in the World Drone Awards in Siena Italy and has 2 Gold and 4 silver awards from the Australian Cinematographers Society. Chris has quickly become a leader in the field of aerial imagery and is ready to share what he knows exclusively with the Stage 32 community. Chris will continue his drone cinematography education by expanding into the more intermediate and advanced elements of creating a great drone shot and using your work to help you get work. He will begin by going over the nuts and bolts of operating a drone, including preparation and safety checks, proper thumb and finger placement, and what the 180 degree shutter rule is. He’ll also explain how to maintain the shutter rule with ND and PL filters and teach you how to properly take off and land. He will also give you tips of how to eliminate variables and trip points when planning your flight and will show you how to continue to improve. Next Chris will break down the anatomy of a good drone shot. He will explain when drones are useful and when they should actually replace a jib or dolly shot. He’ll talk about the importance of getting the shot you’re after and how to tell if you’re overshooting. Next Chris will discuss different types of cinematic drone shots, including landscape shots, dolly shots, and lift shots. Then he’ll go more in depth of when you SHOULD use a drone and when you SHOULDN’T, including questions you should ask yourself before using the drone, how best to plan your shot, and what situations are most effective for drones. Finally, Chris will go over how drones work in the industry and how this particular skill set fits in. He’ll teach you the best ways to show off your talent and get noticed and give you tips on pathways to find work, including networks and communities, forums and drones for hire databases, and how that intersects with representation. Chris will leave you with a lot more context, skills, strategies, and knowledge to start using drones for your project and stand out from the pack while doing it. This is Part 2 of Chris Tangey's Drone Cinematography Webinar Series. To check out Part 1, now available on demand, click here. "My career as a cinematographer has been “elevated" greatly by incorporating drones and knowing how to use them properly to get the best possible shot. I'm so excited to share my experiences with the Stage 32 community and give everyone the knowledge to use this powerful tool to their creative and financial advantage" -Chris Tangey