Georgy Molodtsov (gmolodtsov) wrote,
Georgy Molodtsov
gmolodtsov

Documentarytelevision.com: Inside PBS’s POV Documentary Strand

В США есть много частных сайтов, создаваемых специалистами в разных областях. Один из них - http://www.documentarytelevision.com
Эксперт сайта, предоставляющий как консультативные, так и образовательные и продюсерские услуги, ведет постоянное обновление информации о том, по каким правилам в США существует те немногие островки независимого документального кино.

2014-11-05 03-54-38 POV - Acclaimed Point-of-View Documentary Films | PBS
В мире самым известным таким "островком независимости" и пристанищем для неамериканских документальных фильмов явлется слот POV, показываемый в летний сезон с небольшим захлестом на осень на общественном телевидении сша - PBS. Здесь стоило бы рассказать о системе организации PBS через членские станции в каждом из 210 основных округов США, но это довольно долго. Общая идея такая: PBS предоставляет членским станциям контент, который они вправе разместить в свои свобоные слоты. Но, чтобы гарантировать корпоративным спонсорам и фондам зрительский охват, есть устоявшиеся слоты и стренды, которые показываются всегда в одинаковое время. И, в основном, в прайм-тайм. Для документалистов это, прежде всего, POV, Independent Lens, FRONTLINE и American Experience.

Слот POV реализуется компанией American Documentaries с офисом в Бруклине, практически прямо под Манхеттенским мостом.

Адрес их сайта, где, кроме линейки их фильмов в этом сезоне, вы можете найти кучу информации для независимых режиссеров (календари, дедлайны, фонды, статьи, блоги и пр) простой: http://www.pbs.org/pov

К сожалению, у меня нет возможности перевести весь материал, который сделал Питер Хамильтон на Documentarytelevision.com, но я просто вставлю английский текст и буду надеятся, что те, кому это нужно, смогут это прочесть и усвоить :)

In its 26 seasons, POV has racked up an impressive list of accomplishments:


  • More than 390 films

  • Lots of Awards

    • Seventeen Oscar nominations, eleven since 2005: 5 Broken Cameras, Cutie and the Boxer, The Act of Killing, If a Tree Falls, The Barber of Birmingham, Food, Inc. The Most Dangerous Man in America, The Betrayal, My Country My Country, Street Fight, Hardwood, and more

    • 32 Emmys

    • Numerous DuPont and Peabody awards, including recent Peabody awards for Best Kept Secret, and The Law in These Parts.


Spending:


  • More than $50 million since 1988

  • $1 million per year in production funding and licensing fees

  • Plus $2 million per year on community engagement, education, online and public awareness campaigns that support each film

  • A funding magnet

    • A POV commitment has given filmmakers the leverage to raise millions more from foundations, private investors and government agencies


  • Audience and community impact

    • Each broadcast premiere reaches more than 1 million viewers, plus online streams

    • Community engagement, educational and online activities are central to all POV campaigns


The Pipeline

POV offers 20-25 films from feature length to shorts


  • 14-16 premieres / year

  • 2-4 encores – often of Academy Award nominees or notable films from previous season

POV2

Budget Benchmarks

According to Simon Kilmurry:


  • On the high end, production budgets are $1 million plus

  • The average is about $375K to $450K

  • And about $200K on the low end

Funding

The annual operating budget for POV is $3.2 million

Sources of funding are:


  • PBS: $1.5 million

  • McArthur Fund: $500K

  • NEA: $100K

  • Bertha Foundation: $70K

  • New York State Council on the Arts: $40K

  • Additional: “Grants and contributions vary from year to year. Our sources include the New York City Department of Cultural Affairs and the desJardins/Blachman Fund.”

Program Length

Feature Length (81:25)


  • Around 7-8 / year

  • Includes POV branding, sponsor messages, credits, DVD offer, etc.

  • Most include a filmmaker interview

  • (PBS slot is 86:46)

POV lengths

Hour (51:25)


  • Around 6-7 / year

  • Includes filmmaker interview, POV branding, etc.

Shorts


  • 3-5 / year

  • POV occasionally packages a broadcast hour comprised of half-hours and shorts

  • And many features come in at 70+/- minutes, and they need shorts to fill the slot

Commercial Arrangements

License Fee


  • The basic fee is $30,000/hour or $45,000 / feature

  • The high mark is $150,000 / film

Rights


  • 6 plays over 4 years

  • Community engagement screenings

  • Online streaming catchup windows

  • Limited PBS Free-VOD

DVD

Filmmakers cut their own DVD deals:


  • “POV often facilitates deals and does not take a rev share”

  • POV offers a DVD promotional tag at the close of each program

  • PBS Home Video often acquires home video rights in deals directly with filmmakers

IMG_0015

Takeaways

POV is a major broadcast player for the U.S. independent documentary community:


  • POV, Independent Lens and HBO Docs offer the peak U.S. broadcast slots for feature docs.

  • The longevity, scale and prominence of the POV slot all underline the tremendous value of the PBS system to independent filmmakers and their viewers.

  • A greenlight from POV is not a one-stop solution for filmmakers. POV partially funds docs. However, POV commissioners do actively partner with international broadcasters and foundations to help complete budgets.

SELECTION PROCESS

Filters:


  • Great non-fiction storytelling.

  • Address social issues and issues neglected elsewhere.

  • Have a strong point of view from the filmmaker and/or the characters.

  • Character-driven:

    • “Our strand is called ‘POV’ for a reason” says VP of Programming & Production Chris White. “Our films are often a subjective take on a controversial issue.”

    • “POV films Involve viewers in an issue through the eyes of an active participant or observer.”


  • Aesthetically bold: “The filmmaker has a unique editorial style that pushes the boundaries of the craft of filmmaking.”

  • Emotional resonance

Curatorial Discretion


  • POV’s filters are combined with a “curatorial eye”

    • The POV team ensures that themes and styles are not repeated.

    • And that needed topics are explored.



  • “Themes frequently emerge organically” says POV’s Executive Producer Simon Kilmurry. “Examples are human rights and immigration.”

Domestic? Or Global?


  • U.S. topics: 10+/-

  • International topics: 6+/-

    • “About half of these come from international filmmakers – but the mix varies from year to year.”


POVIntl

Marketing and Promotional Clout

We asked if it makes a difference if a project arrives with powerful marketing relationships in place:


  • “We’re interested in hooks and ties that will expand a film’s audience. But it’s the quality of the film that leads the decision.”

  • POV develops national public awareness campaigns which can include presenting films to critics at the Television Critics, satellite tv and radio media tours.

Technical Format


  • HD

  • Film

ACQUISITIONS PROCESS & TIMELINE

1. Open Call


  • End of June

  • POV receives 800-1,000 entries for 16+/- slots

  • The entries fall into three categories based on their level of completion:

    • In the Works
      Treatment and some scenes are complete
      Few projects are funded that are in these early stages
      But many are watched or mentored for the next year’s Open Call

    • Completion Funding
      Substantially complete: rough cut or close
      They represent 50% of funded projects

    • Fine Cuts
      Films need post: 50% of projects


2. Scouting

POV staff also attends many markets and festivals scouting for projects in production


  • These include Sundance, IDFA (Amsterdam), Hot Docs (Toronto), Sheffield Doc/Fest, Full Frame and others

pov113. Screening for Short List


  • June- September

  • 20 pre-screeners + 5 POV staff members sift through the 800-1,000 Open Call applicants

  • They develop a shortlist of 25-30 films

4. Editorial Advisory Committee


  • Selection panel is comprised of

    • 6 public TV station representatives

    • 6 independents, including filmmakers and festival programmers


  • Panel is sequestered for a long weekend in early October

    • Each film is screened by 4 of 12 panelists

    • Each film is presented to the full panel, with extended clips

    • Final 15-16 films recommended by end of weekend


  • The POV team exercises a final ‘curatorial filter’ in case a topic or style of filmmaking is over-represented

  • The final decision made by POV’s executive producer

5. Contract


  • Offers are sent out after final decision

POST / COMPLETION

  • Filmmakers who accept the offer complete their work and cut their film to the POV clock

  • Kilmurry says “POV provides editorial feedback and support, but we don’t make the final cut. The filmmaker’s vision is key.”

  • The work is completed either in the filmmaker’s facilities or in POV’s editing suites

  • Winners are announced in early February

IMG_0017

BROADCAST

Schedule


  • The POV slot is scheduled weekly on Monday nights at 10PM, June-October

Audience


  • The PBS footprint covers 115 million TV households, and POV reaches 96%+/- of them

  • Audience for premieres:

    • High: 1,900,000

    • Low: 500,000


Outreach


  • POV has a mission to create dialogue in communities around issues that are raised in its films

  • The POV team works in partnership with local organizations and PBS stations, organizing over 700 screenings around the US annually.

  • Lesson plans, discussion guides and resource lists are developed for all films

  • Examples of outreach resources are: Here, here, here and here

OTHER POV INITIATIVES


  • American Documentary Inc is the non-profit organization that is the parent of POV.

  • A new series AMERICA REFRAMED was launched in 2012 in collaboration with the WORLD.

  • AMERICA REFRAMED licenses completed films focused on contemporary American stories.

  • Films that are in a second window are eligible for AMERICA REFRAMED

  • The license fee for AMERICA REFRAMED IS $4,o00 for a two-year license.

  • POV HACKATHONS – held 4 times per year, the HACKATHONS are a place to experiment with new digital storytelling tools, matching filmmakers with coders and programmers to develop prototypes. Applications due by 5/31.

  • Digital Co-productions – With funding from the John S. and James L. Knight Foundation, POV will increase its digital co-productions, hire a technology fellow and continue its successful Hackathons.

  • Filmmaker Resources – POV launched a new online resource for filmmakers with opportunities for funding, distribution and festivals.

Partnerships

POV and The New York Times announced a collaboration to premiere a series of digital documentaries on the organizations’ websites, with accompanying articles and interviews, throughout 2014.

И еще раз - материал опубликован с сайта DocumentaryTelevision.com. Фотографии - мои.


Tags: pbs, pov, документальное кино
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