{"id":11218,"date":"2018-02-28T17:29:24","date_gmt":"2018-02-28T16:29:24","guid":{"rendered":"https:\/\/ismaelmartin.com\/key-tips-for-starting-to-circulate-your-films-work-print\/"},"modified":"2018-02-28T17:29:24","modified_gmt":"2018-02-28T16:29:24","slug":"key-tips-for-starting-to-circulate-your-films-work-print","status":"publish","type":"post","link":"https:\/\/ismaelmartin.com\/en\/key-tips-for-starting-to-circulate-your-films-work-print\/","title":{"rendered":"Key tips for starting to circulate your film\u2019s work print"},"content":{"rendered":"

These days I have been working on the new Madrid en corto call<\/a>; many of the short films submitted are in the final stage of post-production<\/strong>. In most of these cases, they are submitted with the work print<\/em>, better known by the English term: work in progress<\/em>. <\/p>\n

When you are in the final stage of your film\u2019s post-production process, it is advisable to start planning the first festivals and making the first submissions. These are usually made with unfinished copies, where several processes are still pending<\/strong>, such as colour grading or sound mixes, but they allow a viewing experience very close to what the film will be in its final version. <\/p>\n

In most cases, you usually start circulating a work print at the first festivals once the edit is locked<\/strong>. In principle, this copy should not undergo major changes. <\/p>\n

To start working on festival distribution during this phase, you have to be very careful<\/strong>, as not all festivals accept them and programmers must be prepared to watch them.<\/p>\n

Every time I start distributing a new project that is in post-production, I take into account a series of very specific considerations. Here are some of these key tips; I hope they help you if you are in this process now or are about to lock the edit. <\/p>\n

#1 Choose your festivals carefully <\/strong><\/h2>\n

It is very important that you know well the festivals that accept work in progress<\/em>. In principle, these are all festivals that require a world premiere<\/strong>. Also, if you submit a work print, you are making it clear that your film is still awaiting its premiere and that you have hardly submitted it to other festivals, which can even be a small advantage. <\/p>\n

Therefore, most A-class festivals<\/a> accept them, and some others where the premiere is valued<\/a>. In the case of international premieres, it is understood that your film has already been screened in your country of origin; therefore it should be finished, and it is not advisable to submit work prints. <\/p>\n

You can also consider them for national premiere festivals in your country of origin<\/strong>, or where this premiere is especially valued\u2014cases such as Medina<\/a> or M\u00e1laga<\/a> in Spain, which have recently announced their line-ups. Festivals such as Sitges<\/a>, Gij\u00f3n<\/a> or Seminci<\/a> also prefer to receive the copies and entries as early as possible, so it may be advisable to submit a good work print to avoid entering on the last day. <\/p>\n

On the other hand, there are other prestigious festivals that do not accept it<\/strong> or where it is not advisable to submit it, such as Sundance<\/a> or Clermont-Ferrand<\/a>.<\/p>\n

#2 Make it clear which processes are still pending<\/strong><\/h2>\n

For programmers who often watch work prints, it can be very difficult to know which processes are missing: sound mix, colour grading, digital effects, etc. Therefore, make it very clear before viewing<\/strong>. <\/p>\n

You can add an opening title card, or an image as a thumbnail<\/em> on the Vimeo link<\/strong>. This option can help us a lot, as it is the first thing they would see when entering the video:<\/p>\n

\"\"<\/a><\/p>\n

The idea is to remove any doubt about the work print<\/strong> so that no one gets confused thinking it is a final copy, or that there are errors.<\/p>\n

#3 Work with a permanent Vimeo link<\/strong><\/h2>\n

The option of using Vimeo links for distribution<\/a> has been one of the great advances of recent years, especially for submitting work prints<\/strong>.<\/p>\n

You can upload the copy and generate a link very early on. From that moment on, you must be careful to always keep this link working. This allows you to start registering your film on submission platforms<\/a> and make the first submissions. <\/p>\n

As you progress with post-production, you can replace this copy, but be careful: always keep the same link<\/strong>. This way you ensure that programmers will always see the most up-to-date copy.<\/p>\n

You can do this from the File<\/em> option in the video settings within your Vimeo account:<\/p>\n

\"\"<\/a><\/p>\n

As you will see, this is a great advantage for several reasons:<\/strong> you do not have to communicate each update, and you can add subtitles as you have them.<\/p>\n

Also, keep in mind that from the time you submit until the copy is viewed, a few weeks may pass\u2014plenty of time to upload a more final copy.<\/p>\n

Start planning as early as possible<\/strong><\/h2>\n

In summary, the idea is that you start planning the festival circuit very early<\/strong>, if possible from post-production. Review the most important festivals in your segment with premiere requirements and submit the work print with the password-protected Vimeo link. <\/p>\n

This will allow you to have the first communications as soon as possible and to validate early the first festival options you have planned.<\/p>\n

It is not necessary to have all processes completed to start planning your film\u2019s distribution<\/strong>.<\/p>\n

Start as soon as possible<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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. 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