DOING YOUR DOC
DOING YOUR DOC in New Orleans
DIVERSE VISIONS, REGIONAL VOICES
Do you have a trailer that is not bringing you money?
Or worse, no demo at all?
Are you stuck with hours of footage and no idea where to start?
Register for DOING YOUR DOC in New Orleans
If you are trying to figure out your documentary story or fundraising demo this is a great opportunity to do so and meet the funders in person in New Orleans, LA February 10-12
Two full day workshops: How to structure your doc story and make your fundraising sample by internationally renowned author, speaker and story consultant Fernanda Rossi
Two lunch lectures with funders and outreach experts
Evening screening with director present for Q&A
Mentorship one-on-one with industry professionals and funders
$110 for the entire weekend, hand outs and lunch included!
Presented by NALIP, the NEA, and the Full Frame Documentary Film Festival, in partnership with Second Line Stages, NOVAC, and New Orleans Film Society and in association with
Latino Public Broadcasting, NAPT, ITVS, NBPC, CAAM, LPB, PIC Present.
Register for DOING YOUR DOC in New Orleans
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"Fernanda Rossi knows how to talk to filmmakers and,more importantly, she knows how to listen to them. Her approach to story structure is anything but formulaic and it was exactly what I needed to tell the story I wanted. It was lot of fun too!"
Scott Hamilton Kennedy, The Garden, 2009 Academy Award Nominee, Best Documentary Feature
"We had a trailer and lots of opposing comments from different people. Fernanda not only understood the different layers of our story and our voice within it, she also provided us with a method to enhance our storytelling while keeping our creativity flowing. We won the funds of ITVS and were now thrilled to be working with her on our rough cut.
Maya Stark, Sun Kissed, ITVS winner
About the key speaker:
Internationally renowned speaker and story consultant Fernanda Rossi has doctored over 300 films, including two Academy Award nomineesฎ The Garden, by Scott Hamilton Kennedy, and Recycled Life, by Leslie Iwerks; as well as hundreds of trailers, many of which received funding from ITVS, NYSCA and NFB.
Fernanda has given presentations and seminars for major world conferences and organizations such as HotDocs, Sheffield Doc/Fest, and SilverDOCS. Her columns and articles have been published in trade publications like The Independent in the US and DOX in Europe. She is the author of the book that, according to industry professionals is the bible on demo production: Trailer Mechanics: A Guide to Making your Documentary Fundraising Demo.
Detailed Program
FRIDAY, February 10
6:30 pm 9:00 pm Orientation & Program overview
Documentary Case-Study Screening and Filmmaker Q & A
SATURDAY, February 11
9:00 am 5:00 pm DOCTORING YOUR DOC: How to Structure Your Documentary
Do you have lots of ideas and even footage but no clue where to get started? Or maybe you are stuck in the cutting room? A solid understanding of story structure is as necessary to your documentary as a strong script is to a fiction film. With hands-on exercises, this full-day workshop is for producers, directors, writers and editors, and can give you the guidelines you need to find solutions that are true to your documentary's style. You will:
Learn story development techniques
Learn story structure templates in an innovative and easy way
Identify common pitfalls that waste your time and money during production and post, and how to avoid them
Analyze a film as practice for your own project
Analyze works-in-progress from the audience
1:00 pm Special Lunch presentation on public television funding, and navigating the Consortia System
5:00 pm 7:30 pm Private Mentoring Sessions w/ Guest Filmmakers and Funders
Have your idea, proposal, trailer, pitch or concept evaluated and discussed for the next best steps to realize your project and documentary production.
SUNDAY, February 12
9:00 am 6:00 pm TRAILER MECHANICS: How to Make Your Fundraising Trailer
"Can you show me something?" usually means "can you show me a fundraising trailer?" Today, a short work-in-progress tape or demo is the essential tool every filmmaker needs to raise the funds needed to make a documentary, whether from grants, crowdfunding or private investors. Stop guessing what works and what doesn't work - and why - in this one-day, hands-on workshop with Fernanda Rossi, the internationally known author of Trailer Mechanics.
"Can you show me something?" usually means "can you show me a fundraising trailer?" Today, a short work-in-progress tape or demo is the essential tool every filmmaker needs to raise the funds needed to make a documentary, whether from grants, crowdfunding or private investors.
Stop guessing what works and what doesn't work - and why - in this one-day, hands-on workshop for producers, directors, writers and editors. If you have already read or about to read the book by the same name, this workshop is a chance to see all that theory in action with real life examples.
At this workshop you will:
learn the foundational story structures for fundraising trailers.
learn the most common mistakes filmmakers make when crafting their trailers and how to avoid them (not the filmmakers, the mistakes).
learn what type of sample tapes are more appropriate for different markets and venues.
view demos before and after Fernanda's doctoring.
view successful fundraising trailers.
view fundraising trailers from the audience followed by discussion.
Trailer Mechanics: A Guide to Making your Documentary Fundraising Demo will be on sale at the seminar.
Venue Address:
Second Line Stages
800 Richard St., New Orleans, LA 70130
Register for DOING YOUR DOC in New Orleans
ABOUT DOING YOUR DOC: DIVERSE VISIONS, REGIONAL VOICES
The National Endowment for the Arts and the Corporation for Public Broadcasting support NALIP's efforts with a grant to design, market, organize and produce 4 regional professional documentary development/production seminars targeted at the diverse voices of emerging Latino/a, African-American, Asian, Pacific Islander and Native American documentary makers. "Doing Your Doc: Diverse Visions, Regional Voices" has completed its fourth successful year aimed at expanding the documentary talent pool in communities underserved by documentary development.
The program attracted 20-45 artists in Austin, Miami and Chicago, Albuquerque, Boston, Atlanta, Denver, Tucson, and San Francisco. The 2-1/2 day curriculum covers documentary project story structure, proposal writing, trailer mechanics and post-production/ delivery planning taught by "Documentary Doctor" Fernanda Rossi. It includes general information, a case study screening, and specific project mentoring. It focuses on emerging regional makers who have personal documentaries reflective of their locales or experience, plus it supported stories that cover community-based and social change issues. It includes presentations about funding, broadcast or careers in the public television system, and introduced members of the minority consortia to new applicants. It brings professionals to regional communities underserved by the information available in New York and Los Angeles, Washington, D.C., and supports project development to feed into other national programs like NALIP's Latino Producers Academy and Latino Media Market.
NALIP and the Full Frame Film Festival, in association with the National Endowment for the Arts, Columbia College Chicago, International Latino Cultural Center and IFP-Chicago, National Black Programmers Consortium, the Center for Asian American Media, Pacific Islanders in Communications, ITVS, WMM, National Hispanic Cultural Center, Film and Video Center at the Smithsonian National Museum of the American Indian, KNME, Full Frame Documentary Festival, the Office of African-American Affairs, the New Mexico Film Commission, the Institute of American Indian Arts, MIT Media Lab, DAEL Lab at GSU, Native American Telecommunications, and Latino Public Broadcasting presented additional 2009 workshops in Miami, Lincoln, Harlem, and San Antonio; in 2010 we target Minneapolis, Puerto Rico and perhaps Dominican Republic.
Funding pays instructors and artists to attend as mentors, to do case studies, and to inspire new filmmakers. Funding provides audio visual support and professional development lunches about public television funding opportunities and digital technologies. And funding supplements lowered registration and, when possible, hotel costs for regional participants. In Austin, we had makers travel from Arizona, New Mexico, Dallas, Houston and the Rio Grande Valley; two Puerto Rico filmmakers and an Atlanta artist attended the Miami workshop on scholarship while PIC hosted two Hawaiian producers in Chicago.
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