The DDF provides up to $15,000 in research and development funding to independent producers of color to develop single documentary programs for public television. Projects should speak to the ITVS mission to serve underserved audiences with programs that take creative risks, explore complex issues, inspire dialogue and express points of view seldom seen on commercial or public television.

Funded activities may include travel, research, script development, preliminary production for
fundraising/work-in-progress reels, or other early phase activities.

DDF accepts:

• Projects that have not yet begun production
• Programs that can become eligible for ITVS production funding initiatives as single programs of standard broadcast length (half-hour or one-hour). In rare cases ITVS will consider feature-length programs.

DDF does not accept:

• Proposals for completed projects seeking distribution
• Series proposals or fictional dramas
• Projects intended solely for theatrical release

Find more information about guidelines and how to apply on our website.

Calling all independent media makers (yes, we’re talking to you filmmakers!). Do you want to explore new ways of telling your story? Do you have an idea that takes advantage of both traditional and digital media? Then take a look at Localore, a new initiative from our friends at The Association of Independents in Radio (AIR), that’s designed to fuel public media’s capacity for innovative storytelling and journalism.

Through Localore, AIR will recruit talented radio, TV, film, and online producers to lead 10 public station-based projects, blending approaches to broadcast and digital platforms. This means mixing traditional media with mobile applications, online video, digital games, data visualization and maps — anything that will help to bring stories to the public in new ways beyond broadcast.

Interested producers are invited to submit proposals until November 10th at Localore.net.A second round of vetting in December will call on producers, matched with incubator stations, to submit final proposals.

Watch the station runway video (above) to see which public stations are interested in partnering with Independents. Don’t miss out on the opportunity to get your innovative project considered for this game-changing initiative.

Growing up, filmmaker Theresa Loong knew that her father, Paul Loong, was older than most of her friends’ parents. Father and daughter are almost 50 years apart in age.  Throughout her youth and young adulthood, Theresa recalls a cheerful father who loved to laugh and play pranks on his kids. But underneath all that laughter, he would show occasional flashes of anger and sadness.

One day, young Theresa asked him innocently about a curious scar on his back. “Everyone has secrets,” he would say.

She knew this much: His road to becoming an American citizen was anything but direct. As a Chinese Malaysian teenager serving in the British Royal Air Force, he spent three years at hard labor as a prisoner of war in Japan. But it wasn’t until Theresa uncovered a hidden diary her father kept while imprisoned, that she uncovered other family secrets.

At 88 years old, Paul is commemorating his 66th year of freedom.  The film draws upon his experiences to explore contemporary issues of war, immigration, and national identity.  It celebrates the freedom that comes with confronting the past and facing the future with resilience, forgiveness, and love.

Watch filmmaker Theresa Loong discuss Every Day is a Holiday and her experience as an independent filmmaker.

Learn more about ITVS funding opportunities here.

ITVS announced that it has contracted with eight international documentary projects from its 2011 International Call as part of the Global Perspective Project. This year’s selections provide extraordinary access and insight into the daily lives and struggles of people who live in Uruguay, Iran, China, Zimbabwe, Tanzania, Myanmar, and India.

The productions were selected through a competitive application process, which resulted in 476 submissions from 118 countries representing 72 languages.

All eight documentary projects are slated for eventual broadcast, including primetime slots on the Emmy® Award-winning PBS series Independent Lens, P.O.V., and the international series, Global Voices.

Check out the complete list of funded projects after the jump >>

Avant
Producers: Virginia Bogliolo, Pablo Ratto Director: Juan Andres Alvarez
After retiring as a professional dancer, Julio Bocca, one of the most famous ballet dancers on the international scene, accepts the challenge to direct a forgotten national ballet in an unfinished theatre in Uruguay. Avant explores the contrast between Bocca´s quest for excellence and the daily life of this company, set in changing scenery that frames the lives of dancers, workers, cleaners, and technicians.

Before The Revolution
Producer: Barak Heymann  Director: Dan Shadur
Before the Revolution, the untold tale of the Israeli community in Iran prior to the Islamic Revolution in 1979, is a suspense story about courage and hastiness, about greed and blindness, and about great dreams versus an impossible reality. And for one young Israeli family — the director of the film’s family — the last days in Tehran are also a private and hurtful story of a long-gone paradise, never to return.

Democrats
Producer: Henrik Veileborg  Director: Camilla Nielsson
Democrats is a film about the creation of a new constitution in Zimbabwe. The film follows two top politicians who have been appointed to lead the country through the reform process. The two men are political opponents, but united in the ambition to make history by giving the nation a new founding document that could give birth to a future Zimbabwe.

Fallen City
Producer: Lixin Fan Director: Qi Zhao
Fallen City follows the survivors of the 2008 Sichuan earthquake as they embark on a journey in search of hope, meaning, and identity. Zeroing in on three broken families, the film explores the hearts and minds of ordinary rural Chinese forced to restore their lives and the meaning of life in a world without their home and loved ones. A devoted father, a divorced older woman, and a runaway teenage boy — each on their own journey — become a collective image, struggling to find a new position in a new China torn between tradition and modernity.

In The Shadow Of The Sun
Producer: Brian Hill Director: Harry Freeland
Told over the course of four years, In The Shadow Of The Sun tells the intimate story of two very different members of a remote island’s albino community in Tanzania as a wave of brutal ritual killings targeting people with albinism sweeps their country. First there is Vedastus, a warmhearted teenage boy who cares for his terminally ill mother while struggling to find his own place in the world and a way back to school. Then there is Josephat, a strong willed advocate for people with albinism, who fights to unite his country and dreams of scaling the heights of Mount Kilimanjaro. As the killings escalate, Vedastus flees the island in search of safety while Josephat stands and faces the killings head on.

I Want To Cheer Up, Ltd.
Producer: Mette Heide Director: Kaspar Astrup Schröder
The complexity of happiness is at the center of this story about Ryuichi, the owner of a professional stand-in company that rents out fake family members and friends. At work he can finally be the perfect husband and father that he doesn’t know how to be at home.

Miss Nikki & The Tiger Girls
Producer: Jessica Douglas-Henry Director:  Juliet Lamont
The poorest nation in South East Asia, Myanmar has been ruled by a series of military dictatorships for many years. This documentary provides a rare opportunity to go behind the bamboo curtain and explore the lives of ordinary people living in this country through an intimate portrait of Myanmar’s first all-girl band The Tiger Girls.

When Hari Got Married
Producers/Directors: Ritu Sarin and Tenzing Sonam
Hari, a young, but traditional taxi driver in Dharamsala, India, is getting married to a girl he has never met, but with whom he has fallen in love after many mobile phone conversations. Now, frantic preparations are afoot to make sure the wedding goes off without a hitch. Outspoken, opinionated, and funny, Hari grapples with nerves, heartburn, and mounting tension as the day of reckoning draws close.

The 2012 ITVS International Call Deadline is December 9, 2011.  For more information, click here >>

ITVS International enables independent producers from outside the United States to create documentaries for U.S. television. Through International Call, global storytellers introduce U.S. audiences to their world, their neighbors, opening a window into unfamiliar lives, experiences and perspectives.

International Call provides production and/or post-production funds for single non-fiction television documentaries that bring international perspectives, ideas, stories and people to a U.S. audience. This initiative is for non-U.S. producers and filmmakers who live outside the U.S.

Please note: ITVS International Call 2012 will be an all digital submissions process.

For more information about guidelines, eligibility and how to submit, please visit www.itvs.org/funding/international

Welcome to the first in a series of updates on the production side of the public media world at large — in particular at ITVS, where our production team is working with filmmakers on more than 150 programs scheduled for public television. Topics will range from technology advances to marketing strategies and trends, and to ITVS policies.

Our goal has always been to listen and serve producers in a spirit of collaboration, and so I hope you will share your ideas for continuing the partnership. Throughout the past few years, ITVS has been hearing from more and more of you about the enormous fiscal challenges of producing longitudinal projects. We have been studying the marketplace, reaching out to past and current ITVS-funded producers, conducting interviews, and looking for ways to help. Effective October 1, ITVS will allow recoupment of verifiable, approved, producer paid out-of-pocket expenses from first ancillary incomes. The change applies to open programs and newly funded programs in the future.

Orientation

This summer we brought 22 producers of 11 programs to San Francisco for a four-day intensive orientation workshop about working in public media and with ITVS.  The producer orientations are scheduled several times during the year as decisions are made about production funding/licensing.  Here are some highlights from our orientations in 2011:

Please look out for future blog posts on crowdfunding and its implications for producers working in Public Media, a webinar on rights clearances with archivist and filmmaker Kenn Rabin, and a closer look into our P360 Basic and Enhanced initiatives for funded filmmakers.

As part of BTB’s ongoing mission to curate news and opinions on public media, we have called upon key players to share their take on the evolving environment. Over the next several weeks, BTB will be rolling out their thoughts and ideas, adding to the conversation on public media’s role now and in the years to come.

First up is Ken Ikeda, Co-managing director of Public Media Company (PMC) in San Franicsco.

Celebrate 20 years of Independent filmmakers on ITVS’s Indies Showcase, streaming award-winning documentaries now until September 23.

We’re producers. We’re used to 13-hour days, right?

Actually, I heard nary a complaint. Instead, what I heard was praise and genuine joy for an opportunity to be with fellow filmmakers in an atmosphere of celebration and camaraderie.

Take day one of orientation, for example. After a breakfast that included vegan granola (it is San Francisco, after all), we were whisked away into workshops and meetings that were all about the money. Financial reporting. Budgeting. Contract negotiation. It was a lot to absorb and my brain was mushy by 5PM when we gathered to walk over to the Dolby Lab.

Dolby’s screening room is not what I expected from the millions of promo trailers I’ve seen and heard in movie theaters — you know, the ones that culminate in something like the sound of broken glass shards raining over you. The room is like a 1970s revival of a 1920s deco theater — but the sound is pristine.

Every film’s five minute cut was great, from the story of America’s first gay bishop to the story of a family trying to do Christmas without products from China. ITVS had prepared a program to hand out and staff introduced each film. Filmmakers did Q&A. I felt deeply respected and maybe even a little coddled as they introduced our film, As Goes Janesville, one of several that received funding after multiple tries.

Most importantly, the evening reflected the sincere support ITVS conveyed all week. Not only did they successfully create a supportive, collegial space for us to balance contract numbers with content ideas, but they helped us understand how we fit into their broader mission.

Just look at us and our film topics. We are from New York, Los Angeles, Boston, Bay Area, Milwaukee, Austin. We are Jewish, Chinese, African American, Native American, Indian-British, LGBT. We are old and young, men and women, veteran and emerging. We — and the staff of ITVS — are truly diverse, fulfilling a mission originated in the 80s to respond to a report by the Carnegie Foundation that bemoaned a public media system without innovation and diversity. No tokenism here. ITVS is serious about supporting a wide array of filmmaking voices.

The only buzzword as potentially hollow as diversity is innovation. But ITVS is serious about substance in this area too. We learned about FUTURESTATES, short fiction films that imagine a social problem as it plays out at some point in the future. And we learned about Project 360 enhanced, an innovation initiative that supports ITVS filmmakers in creating technology projects that address issues raised by their films, from games and apps to anything you can imagine. Companion websites are so two-thousand and late.

I had not expected to see the intensive three-day orientation through the lens of age, but somehow that’s how it came into focus for me. I had been around ITVS before, first as a producer at Lumiere Productions throughout the 90s, then in 2005 as part of the LINCS initiative with my film, Almost Home. Many of the ITVS staff are still here from each of those times. I chuckled at the references they used during presentations. While one of the more “mature” (as in my age) staff members used a Tom and Jerry reference, another who was likely born around the time I started working in film referenced He Man, a character I had to look up on Wikipedia to discover that it was a popular cartoon in the early eighties.

But this observation is trivial compared to the change I noticed since I was here five years ago. Last time around there was tension over the contracts and especially over distribution strategies. Five years ago filmmakers in my LINCS group felt overwhelmed, even a bit assaulted, by the sheer size and demands of the ITVS contract and what was perceived as a lack of concern for festival and theatrical releases.

But this time workshops and one-on-one meetings made the contract transparent and understandable. What’s more, ITVS’s lawyer (whom I shall not name here) is a kind, gentle, dare I say, baby-faced man who makes contracts go down like honey. And ITVS is light years ahead of other outlets with whom you may have negotiated when it comes to distribution. Instead of arguing over release windows, the entire team is ready to work with filmmakers to devise a strategy that helps our films reach audiences through festivals, PBS broadcast, outreach and community engagement activity and public relations. We met with each department over the course of three days. If anything, I felt like I would struggle just to keep up with ITVS’s support for our film.

I wish I could be more critical, if not ironic. Yet I can’t. The orientation days were long, yes, but they were lovely and I left energized to make our film and very happy to know a fantastic bunch of filmmakers well. I wish I could find something to complain about. Okay, I know, the room we were in most of the time had no windows. C’mon ITVS, can you work on that?

1. Read the How To Apply page. Some requirements have changed, particularly regarding previous work samples and the work-in-progress.

2. Create an account. You can do this any time, and complete the application over the next two weeks. We encourage you to start the process early. You can save your progress and return any time up to the deadline.

3. Once you have an account and have logged in, complete your application form for Open Call. This is mostly the same as previous rounds, with the exception of a page where you will upload all your materials.

4. Upload your materials. This includes your treatment, resumes, work sample descriptions, etc. It also includes your work-in-progress. We have created a Video Compression Guidelines page to help you.

That’s it! All you need to do now is tell us a good story. Easy, right?

If you have any questions about this new process, you should contact our Programming Coordinator Jonathan_Archer@itvs.org