By: Sheryl Fountain, Instructor

There are a lot of questions to answer when making decisions about how to fund and market a film. From a producer's view, knowing where to make compromises and how to navigate promotional, casting, and financial obstacles without jeopardizing the director's vision is "the job". In this article, we will explore answers to many of the common questions regarding important decisions a producer has to make about budget and marketing— aka the "producer pipeline".

Q: How can I raise money for my film?
A: Here are just a few ways that may be able to assist you on your next project:

• Credit Card - Some filmmakers use credit cards to finance their project, Although mentioned in the above video, we do not not recommend this method. If you have no other alternative use the method to pay for equipment that you might be able to use in multiple project.

• Bartering - You can barter with other filmmakers to borrow equipment or rent their equipment at a low rate in exchange for helping them on their next project or letting them borrow something from you.

• Trade Outs - Some companies will offer you free items, such as the use of a luxury car or designer clothes, in return for putting their company name in the credits. This generally only works if you have a named talent connected to your film or have a distribution deal in place before production begins. However, a trade-out could also be a local restaurant that gives you free sandwiches for your crew in exchange for a thank you in the credits.

• Savings - Putting 5-10% of your paychecks into a film savings account and when you get the amount you need for the film, you make your film.

• Crowd Funding - Look at other kickstarter campaigns and study their marketing approach. This generally takes a lot of time so you need to make sure you can dedicate time to making this successful. Be realistic with kickstarters you have to reach your goal to be able to get the money so don't ask for $50,000 if you know you're not going to need it or get it. Make sure the rewards you give out are realistic in your campaign. If you're giving physical rewards like posters this will eat into your overall budget.

• Company Partners - Company partnership are generally used for production gear, speciality equipment and software. If you let companies know that you want to use their equipment in the best way possible on your film, they may provide loaner or heavily discounted product. Another way to get a company partner is by making them content to show off the capabilities gear or software.

• Independent Financing - you generally get financing from people who are fans of you and your previous work. Many filmmakers leverage their earlier films to help get financing for films in the development stage.

• Grant Financing - Short film grants are a great way to secure financing for your film. They allow you to focus on your craft without worrying about financial responsibilities. Film grants have strict application guidelines and deadlines, so it is necessary to familiarize yourself with those before applying.

Q: What is the best way to find and identify your target audience?
A: The best way to identify your target audience is by asking questions.

Although there are hundred of questions you can ask yourself, here are a few that may help you get started:

1. When you think of your film, what type of people do you think will like it?
   If you have a food documentary about the origination of tacos, you would want to identify who loves tacos enough to watch a taco documentary.

2. Do you feel a specific age group would be more inclined to watch your film?
   Maybe you have an animated film but it has adult themes, so you wouldn't want children to watch it.

3. What are the Comp Films?
   Comp films are films that are comparable to yours in terms of marketing . I would identify my short film, S.A.M. as Mission Impossible meets Wanda Vision meets the Truman Show. My hope would be that the type of audience who like surprise and adventure in those films would also like my short film.

4. Is your film genre specific?
   The film genre allows you to focus your marketing efforts specifically towards the audience who are fans of that genre. For Example: If you have a horror film, then you could focus your marketing efforts towards horror film audiences or narrow down the target market even further if you have a comedic, horror film.

5. What is the end goal for your project?

6. Is your target audience your friends and family or are you making the film for a future employer? Defining the reason behind making your film and what you would like to do with it will also help you define your target audience.

Taking time to understand your audience will enable you to create an image of your ideal audience member. This information will then be utilized when you create and refine your marketing message. You're providing value with your film so you want to market it to an audience who will value it as much as you do.

Q: What are some out of the box marketing ideas that will get my film in front of my target audience?
A: Once you understand your target audience and where you might be able find them, there are so many ways to be able to get your film in front of them. Here are just a few examples:

• Movie Marathons - Many Independent Movie Houses will use movie marathons or cult classic films to draw a target audience. If a relationship is built with the movie house, it has been possible to show a short film in the same genre during the previews.

• Independent, Non-Profit and/or International Shows - Several years ago, I worked with an international, non-profit TV network. There wasn't enough money to continually make content so we reached out to local student filmmakers for short, inspirational films.

• Local Town/City Events - Many filmmakers will reach out to the local community and premiere their project during a festival, event, or at a park.

Q: What if I can't find an actor that matches the image I had for my character?
A: Be Open Minded.

When conducting auditions, always be respectful and thankful for those who take their time to audition for you. This is even more important when you can't pay your cast. Actors are walking into your session vulnerable, make sure you know what you want but also be willing to be surprised. An actor may come in for one role but they might be perfect for another.

Here are a few examples of actors who didn't get the role they wanted:

• Chadwick Boseman - Auditioned for Drax the Destroyer in Guardians of the Galaxy but was hired to play T'Challa in Black Panther

• Sebastian Stan - Auditioned for Captain America but was hired for the role of Bucky Barnes, aka Winter Soldier.

• Lee Pace - Auditioned for Star-Lord in Guardians of the Galaxy but was hired for the role of Ronan the Accuser.

• Carice Van Houton - Auditioned for Cersei Lannister in Game of Thrones but was hired for the role of Melisandre.

Q: What if my actor needs to have special skills for a film?
A: Actor Conditioning/ Training

In some films, the actor needs to condition their physical appearance. This can be anything from gaining muscles, losing weight, gaining weight, getting clear skin, etc. In other films, actors need to learn special skills for a role. This could be anything from Martial Arts, Mounting Climbing, Riding a Horse, Dancing, Singing, etc. Depending on the amount of conditioning or training the actor would need to begin 3-6 months prior to the first day they're on set. The producer will organize and schedule the conditioning/training sessions and unless otherwise negotiated, the film pays for their conditioning/training.

Q: Why is creating a Marketing Message when developing my film important?
A: Narrowing down your target audience also allows you to create a concise marketing message.

You want to give your target audience what they want and something interesting enough for them to want to go and watch your film. Giving them a clear message that speaks to them is key. Also, if you give your audience a promise make sure your film lives up to it. For Example: If you tell them there are more twists and turns in your film than WandaVision then you need to make sure you're film lives up to that but doesn't lose your audience because they can't follow the twists and turns. Instead you can say: S.A.M. is a creative, fun and suspenseful film with twists that keep you at the edge of your seat.

Q: How can I cast union actors on a non-union film?
A: SAG-AFTRA provides students ability to utilize union actors on their film.

However, in return, you must follow specific rules and guidelines. If these are not followed, penalties are assessed to the filmmaker and to the school.

Q: If my film is union, how do I cast union actors?
A: If your film is Union, you can only hire actors who are part of that union or are willing to sign up for the union.

You will also have to pay them union rates. Working with Actors & Non-Actors in Video Production

Q: If my film is union, how do I cast non-union actors?
A: The union requires you to utilize union actors, however there are some exceptions when it comes to background actors.

Make sure you contact SAG-AFTRA on the specific rules.

Q: What if I can't get a film permit and want to guerrilla shoot my project?
A: If you're on private property and you have permission from the owner then you don't need to do this.

However, guerilla shooting is when you shoot on public property, without permission from property owners or local officials, and with no permits. This is not the preferred method of shooting for the LA Film School. When doing so, you shoot at your own risk, can be kicked out of your location and/or fined a substantial fee. There are occasions where guerilla shooting is possible.

Q: How can I get free stuff for my film?
A: A trade out is when a filmmaker gets an item or items for free in exchange for recognition.

Generally this is a thank you/appreciation or a "support provided by" credit at the end of the film. Product placement is when companies will provide you free items to be highlighted in the film. Depending on how much product the company provides the producer may include an appreciation end credit. These two terms are generally used synonymously because each provides the production free items from companies but trade outs and product placement have different functions.

Here is a scenario that will show you the difference:

• Trade Out Scenario - You're making a film and you need a luxury vehicle. You might get a car from a local, privately owned car dealership for free in exchange for an end appreciation credit. Since it's a car dealership and not the car maker, you would need to cover or blur the car logos. All major Hollywood films use trade out but the best example is the wardrobe in The Devil Wears Prada.

• Product Placement Scenario - If you're making a film and you need a Tesla. You might be able get a Tesla to use for free in exchange for highlighting the car and the brand in your film.

It is possible to have trade outs and product placement in the same film. In a scene in The Devil Wears Prada, Anne Hathaway has to get Hermès scarves. These scarves were not only mentioned in the script but also on the bags she carried and scarves tags, making them a product placement.

Depending on the amount of the trade out and/or product placement the production may or may not be able to keep the item. In the above example with the cars, of course the production would not be able to keep the car. However, some companies will donate food items and do not expect those items to be returned.

Q: What are the common deliverables requirements for streaming platforms?
A: Here is a list of deliverables for most streaming platforms:

• Quicktime .mov or .mp4

• UHD Prores 422 HQ Active Image Scaled to UHD, e.g. 3840x1920 (2.0), 3840x2160 (1.78)

• Text and Textless H.264. A textless version is your film without any graphics, titles, etc.

• Textless Video Display Master (VDM) . A digital master is your original digital footage utilized for archival storage purposes. Think of it like a film negative, you can go back to it if you lose your project.Text Video Display Master (VDM). This version is your film with all graphics included.

• Non-Graded Archival Master (NAM). This is the non-color graded image sequence without text.

• Graded Archival Master (GAM). This is the color graded image sequence.

• Master Recording. The masters of any music recordings, music scores or soundtracks.

• QC Passes. If you hire a QC company to check your project, the distributor may ask for copies of the reports.

• LTO Archives of Project Backup, color files and DM&E

Here is a quick video about LTO vs Cloud storage backups: How To Archive: LTO vs. Cloud Storage

No matter the delivery requirement, funds should be included in the budget to cover deliverable costs.