These days I have been working on the new Madrid en corto call; many of the short films submitted are in the final stage of post-production. In most of these cases, they are submitted with the work print, better known by the English term: work in progress. When you are in the … Read more
There are promotional materials that are essential to start getting a film out there, especially those related to the director: such as a photograph, a copy of your ID card (or passport), your filmography and your biofilmography. Sometimes it seems that biofilmography is not given much importance, and it is confused with … Read more
For festival distribution, it is essential to burn in subtitles and have your film’s videos in several languages. In a previous post I explained how to do it using HandBrake, which is one of the best programs available for video conversions and is also free. The most commonly used file type for … Read more
Nowadays, having a website is essential, not only for the simple fact of having an online presence, but also because you need tangible elements to support the viewing of your film. A few years ago, when DVD copies were still being sent out, it was very important to take care of the … Read more
This week I have once again discussed several times whether or not it is advisable to include festival laurels in the DCP copy and screening copies. It is usually a very recurring topic when you start circulating a film. The laurels (and logos) are usually sent by festivals once the film has … Read more
One of the most revolutionary changes brought by DCP has been the possibility of making copies without complications and at a very low cost. The change compared to 35 mm has been impressive; a single celluloid print could cost over €400 on average. For standard festival distribution, at least 5 copies were … Read more
Now that we are starting to register short films with the Film Academy, we are once again talking a lot about the age rating license and the certificate of nationality. These are documents that most short film directors and producers do not usually have unless they decide to submit to the Goya … Read more
In previous posts I have talked about screening copies and viewing copies for festival distribution, but I had not dedicated any to promotional materials. Some students asked me about them recently and it is worth doing a brief review, especially of the materials that are essential and that we must have ready … Read more
A couple of weeks ago I discussed the copies required for screening in festival distribution, for both short and feature films—that is, when our film has already been selected. Now it is time to address the copies required for submission. We must bear in mind that these copies are the programmers’ first … Read more