Open Call provides completion funds for single nonfiction public television programs on any subject, and from any viewpoint. Projects must have begun production as evidenced by a work-in-progress video. Open Call funding is only available to independent producers who are citizens or legal residents of the U.S. and its external territories.
Open Call accepts:
Single programs of standard broadcast length (half-hour or one-hour). In rare cases, when a filmmaker’s skills, subject, and story structure warrant it, ITVS will consider programs at feature lengths.
Programs that can be completed within one year of contract
The application will open December 29, 2014 and the deadline for receiving all application materials is January 30th, 2015 at 4 PM PST.
ITVS will be hosting a live chat on Wednesday, January 14th at 1pm ET/10am PT. Programming Manager N’Jeri Eaton and Senior Production Manager David Eisenberg will be on hand to answer your questions, from treatments to budgets and all that falls between.
ITVS is proud to be part of three proposed panel discussions for next year’s SXSW festival in Austin. Highlighting topics ranging from navigating the digital terrain to the ins and outs of webseries funding, ITVS is eager to share the insight of industry experts and veteran filmmakers. We may be biased but we think all three of our panels are very worthy of inclusion in SXSW programming and we could use your vote. So sign up and give us a thumb’s up!
First off we ask, “What’s the Value of Your Digital Rights?” In this panel, industry experts will provide insight into how much digital rights are worth to filmmakers and distributors launching titles on outlets such as iTunes, Amazon, and Netflix. Attendees will walk away from this session with insight into which platforms are winning in the battle for viewer attention, while attaining a greater understanding of the deal structures and windowing strategies negotiated as part of these licensing deals.
What sets PBS apart from all of the other broadcasters and distribution outlets? Why do award-winning filmmakers continue to choose PBS as the home for their films? Our second panel, “Doc Distribution: Get Up to Speed with PBS Indies,” highlights the benefits of distributing your film through public television. With access to 98% of American households and the opportunity to be a part of national engagement programs, public media is a great fit for producers looking to expand cultural awareness, spark dialogue, and evoke civil participation. Attendees will be able to hear directly from filmmakers who have chosen this distribution route and how it affected the reach, revenue, and impact of their project. Continue reading →
Over the past month, ITVS’s Programming Department hosted a number of informative webinars in order to arm filmmakers with the information needed to successfully apply for Open Call funding. With Friday’s deadline fast approaching, we wanted to offer this brief overview of each of the events, which covered everything from writing the ITVS treatment to what makes a successful work-in-progress sample. Check it out and be sure to apply to Open Call by Friday, August 8th.
On July 10th, Programming Manager N’Jeri Eaton hosted the “Writing the ITVS Treatment” webinar. View the archived webinar below:
On July 24th, an OVEE screening was held to review work-in-progress samples and to discuss the process with filmmakers who were successful with their submissions. To find out what makes a good work sample, read the transcript from the “Work-in-Progresses That Work” webinar here. Continue reading →
ITVS programming staff Jen Gilomen and Jorge Trelles hosted a budgeting webinar for Open Call on Thursday, July 24, 2014. Below is the recorded event, which includes an overview presentation and Q&A with participants. Also below is a recap of the new budget format for Open Call.
As part of your application to Open Call (now in WizeHive, an online system), we ask for summary budget information for your program – including secured funding and expenses. Your “request to ITVS” is based on your total budgeted expenses minus the total secured funding you have received for your project. The “Total Request to ITVS” is therefore the total amount you need to complete your public television program as outlined in your proposal. Your budget, with the rest of your application, tells a story to reviewers about how you plan to complete your film.
Secured Funding: This section is only for “secured” funding (no in-kind contributions). This means “Producers Cash” contributed to the production (hard costs you have incurred that weren’t covered by other funding sources) and other grants and income sources you have obtained for your film. “Secured” means you have already received the funding or have been promised the funding in writing.
Expenses: Expenses are all of the costs associated with producing your public television program from inception to final masters delivered for broadcast. It should not include any other expenses, such as costs associated with creating another version of your film, distribution, marketing, your film’s website, outreach efforts, etc. Budget categories from the ITVS Budget Template are pre-populated in the online application for convenience, but you can edit the categories to fit your existing budget. You are welcome to use (but not required to use) the ITVS Production Budget Template (download here in Excel formats: xlsx or xls) to calculate subtotal amounts for your major budget categories. (Please note that if your project is selected for Open Call panel review, you will be required to submit a full ITVS Production Budget in this format. Even then, you will be able to modify the category names.)
Programming Manager N’Jeri Eaton hosted an informative webinar last week, reviewing the new Open Call submission process and providing insight into writing the ITVS treatment. This archived webinar is available for those who were unable to attend or are looking to brush up on their treatment knowledge.
“Writing the ITVS Treatment” was the first in a series of webinars ITVS is hosting in an effort to provide more resources for filmmakers applying to Open Call. The following weekly webinars will be held in the lead up to this year’s deadline:
You’ve given us feedback through surveys, emails, phone calls, and one-on-one meetings. And we have been listening! The Programming Department is excited to announce some changes to our Open Call initiative.
The following changes have been made to the application process for the ITVS Open Call initiative. For a complete listing of rules and regulations, please visit the ITVS Open Call page on the ITVS website.
The upcoming deadline is August 8th. This will allow filmmakers to learn more about the changes to our application process and update their materials accordingly. This will also give applicants from the previous round more time to revise their materials before applying again while also providing a breather for Open Call staff.
SHORTER REVIEW PROCESS
Applicant will be notified about the status of the submissions within 15 weeks of the application deadline. Previously, applicants who went through all three phases of review had to wait up to five months for final funding decisions to be made. We understand that five months can be a lifetime in the course of a film.
APPLICATION MATERIALS CHANGES
One of the reasons we’re able to shorten the cycle length is that we’re making changes to the application materials. Instead of submitting a condensed three-page program description, we’re now expanding the program description to be up to seven pages in length.
We’ve also changed the length requirements for the work-in-progress sample. Now, we will only accept work samples that are between 10 to 15 minutes or a full rough cutthat is within 20% of the proposed length. For example, if you’re applying for an hour long project, your rough cut cannot be any longer than 72 minutes.
If your project gets to the Panel Review phase, then we will only ask you to send a production questionnaire and a full budget in addition to the materials you previously submitted. Continue reading →
ITVS recently hosted four producer teams who were greenlit by the organization’s newly developed ITVS Storylab initiative. These producer teams met with ITVS staff and external mentors to gain intensive consultation in the areas of story development, user experience mechanics, and producing multi-platform content.
In early April, ITVS rekindled its love affair with the hackathon. And while we’ve hosted hackathons before, this was something different. This time, we weren’t coding anything. We were hacking story. Not a totally new concept, our process was inspired by our good friends at StoryCode, who’ve run a couple story hackathons in the past – events borrowing from the software development world’s rapid prototyping process to create digital multi-platform stories at breakneck pace. And that’s exactly what we did. We selected a handful of immensely talented indie storytellers with ideas for immersive webseries concepts, and locked them in a room for two days to conceptualize, scope, and paper prototype them for ITVS.
And why? To answer that, let me back up a few steps.
Call it what you like – immersive storytelling, cross-platform, cross-media, or the now-seemingly-dreaded “T-word” (aka transmedia) – if you’ve had a conversation with me about it in the last couple years, you know I have a real obsession with it’s applications to creating impactful and artistic fictional storyworlds. Interactive docs are awesome. But as I said at our recent SXSW panel on the very same subject, i-docs are officially everywhere – including here at ITVS – but if you ask me, the real wild west of transmedia storytelling right now is in fiction.
Look at most narrative webseries and you’ll find they mimic a broadcast paradigm – either the episodic serial or the anthology, like FUTURESTATES. And while I love these stories, I’ve long felt that the new opportunity with web series is to create one that doesn’t feel like a broadcast series – one that really unleashes the user experience potential of web to tell a nonlinear story in serialized form. Our upcoming and final season of the FUTURESTATES series is exactly that. The first act of this narrative is unfolding right now on Twitter and Tumblr. And on May 14, 2014, we’re taking it to a whole new level. It’s a multi-platform futuristic mystery, with you at the center of it all. Stay tuned, you won’t want miss it. Continue reading →
This year, three ITVS-supported films premiered at the 2014 Sundance Film Festival. Filmmaker Thomas Allen Harris showcased both his feature film and transmedia project as a part of New Frontier, a program that showcases multi-media storytelling. These projects inspired ITVS to create a panel focusing on the challenges of fundraising for documentary and transmedia projects.
Pictured (L-R): Kamal Sinclair, Sr. Manager Sundance New Frontier Story Lab; Jim Sommers, Senior Vice President of Content at ITVS; N’Jeri Eaton, Programming Manager at ITVS; Thomas Allen Harris, Through A Lens Darkly and Digital Diaspora Family Reunion; Shukree Tilghman, More Than A Month and More Than A Mapp app; Kay Shaw, Director of Public Media Corps at NBPC
The panel marked ITVS’s first event with the Blackhouse Foundation. For the last seven years, Blackhouse has held a venue at the Sundance Film Festival as a place that both celebrates Black cinema and provides networking opportunities for filmmakers.
In response to the growing demand for submission resources, the ITVS Programming Department hosted two informational webinars for filmmakers submitting for Open Call funding.
Throughout the year, hopeful applicants have a tendency to bombard the ITVS Programming Department with questions regarding their submissions to various funding initiatives. This year, Programming Manager N’Jeri Eaton hosted two webinars offering insight on the process and firsthand advice for filmmakers for their treatments and work samples.
The first webinar was devoted to the art of treatment writing, where Eaton was joined by ITVS-funded filmmakers Christine Turner (Homegoings) and Llew Smith (Denial: An American Dilemma). The filmmakers shared excerpts from their treatments and answered questions from the webinar participants. You can watch the full webinar below: