Grants provide some combination of film stock, tape stock, film processing funds, or use of the production and post-production equipment. Allocation is based on the following and is at the discretion of the faculty advisor and the production coordinator:

• Skill level of the applicant
• Successful pitch
• Completion and approval of required pre-production materials
• Availability of funds, raw stock, and equipment

PITCH MEETING

The grant proposal process begins with a pitch meeting. Pitch meetings are held during the weekly Cinema Workshop meetings in Bozorth 49. Filmmakers pitching an idea to the group are expected to provide one copy of a complete, typed script written in standard script format for each speaking part in addition to one copy for stage directions (example: If you write a script with a two characters, you must arrive to the meeting with three copies of your script.) Filmmakers must also provide one copy of a one-page proposal stating the basic idea of the project as well as the grant level being applied for.

All scripts will be read aloud during the meeting with the stage directions and each speaking part being read by a Cinema Workshop member.

After the initial reading, members will discuss the merits and possible problems with the script. The filmmaker will be able to address questions and all members are expected to contribute constructive criticism. After a thorough discussion, members will then complete and hand in to the president or advisors a proposal evaluation form (available on this site.) The executive board and advisors of Cinema Workshop will evaluate the forms and contact the filmmaker regarding the status of the proposal.

Scheduling of pitches is done on a first-come, first-served basis. You may submit proposal materials at any time, in person, to Sean O’Leary in Bozorth #41. It is highly likely that only one or two proposals will be covered during any meeting to allow adequate time for thorough consideration. More is possible, however, so it is best to submit your completed proposal materials as soon as you have them ready. If a filmmaker who has submitted a proposal fails to attend the meeting at which that proposal will be discussed, the proposal will then go to the end of the list of submissions.

Any applicant not submitting the required items in proper format will not be scheduled for a pitch meeting.

GREENLIGHT

Successful development leads to "Greenlighting" - a proposal being prepared for actual production. No "Greenlighted" project will be scheduled for production without the following materials being submitted in the proper format and approved by the faculty advisor and the production coordinator:

• Complete storyboards
• Production schedule
• Cast and crew list

CREW

The production crew must have certain key positions based on the level of grant being provided (i.e., sound productions must have a sound recordist and sound assistant in addition to cinematographer and director.) Crew positions must be filled by active Cinema Workshop members only. There are no exceptions. Crew members operating certain pieces of equipment must demonstrate proficiency with that particular piece of equipment prior to scheduling equipment check-out.

Cinema Workshop members without any production experience or who haven’t completed any of the required production courses are strongly encouraged to volunteer to work as production assistants. This is a great way to get familiar with the production process and to gain basic skills.

EQUIPMENT CHECK-OUT and CHECK-IN

A filmmaker may reserve equipment and schedule check-out and check-in times after they have gotten all of their completed pre-production material approved by the faculty advisor and the production coordinator. Equipment reservation must be done with the production coordinator. When scheduling time to check equipment out and in, be sure to allow enough time (at least a half hour) to adequately check your equipment and be sure it’s in working order.

In addition to the filmmaker, the crew members responsible for the operation of each major piece of equipment must be present at the time of check-out and (e.g., the cameraperson must check-out the camera, the sound recordist must check-out the audio package, etc.) If a certain crew member is unavailable, the piece of equipment will not go out.

If you schedule a check-out or check-in time, you must be there...on time. Lateness will not be tolerated and may result in cancellation of your equipment reservation. If a filmmaker and crew are late by 15 minutes or more, the equipment reservation will be cancelled and the filmmaker must meet with the faculty advisor and the production coordinator before any further equipment reservations may be made.

You can avoid being penalized simply by calling and letting someone know you’re going to be late.

If a piece of equipment becomes lost or damaged due to negligence while signed out, that filmmaker is financially responsible for its replacement cost. Filmmakers may not replace equipment or supplies before check-in. The filmmaker must report the damage or loss to the production coordinator so that replacement cost may be assessed. Damages and compensation will be worked out with the filmmaker, the faculty advisor, and the production coordinator. No footage will be digitized until the replacement cost has been paid in full. Failure to compensate Cinema Workshop for lost or damaged equipment and/or supplies within a reasonable amount of time (at the discretion of the faculty advisor and production coordinator) will result in nullification of the grant awarded, confiscation of the footage, and the offending member’s expulsion from the organization.

All equipment reservations must be made at least 24 hours prior to the desired check-out time.

POST-PRODUCTION

After photography is complete (or after film has been processed and transferred), the filmmaker must log all of the shots in Adobe Premiere before batch digitizing.

Footage that represents a severe departure from the submitted materials will not be digitized and the grant will be cancelled. All materials belong to Cinema Workshop and will not be returned to the filmmaker. The filmmaker’s membership in Cinema Workshop will also be immediately terminated.

Filmmakers may sign up for editing sessions after their footage has been digitized. Filmmakers are advised to check with the production coordinator for confirmation that their footage has been digitized, usually within a day or two. Filmmakers may only sign up for editing time within the week in blocks of no more than 4 hours with a weekly maximum of 12 hours. Any time for the following week may be scheduled on the previous Friday at the earliest. Of course, if the editing station is free and no one is around to sign up, the filmmaker may sign up for more time and continue working. The time limit is to prevent people from signing out exorbitant amounts of time in long blocks, then not staying for the entire period, even for weeks at a time, preventing other members from using the workstation. If we cooperate, everyone will be able to have enough time at the editing stations.

If a filmmaker has signed up for editing time, but cannot make it, they must call the production coordinator to cancel. Any filmmakers who are more than 15 minutes late will lose their reservation for the entire block of time they had scheduled. Forfeit time may then be reserved by anyone present. Any filmmaker who forfeits more than two blocks of time will be required to meet with the faculty advisor and production coordinator before being allowed to reserve any more editing time. Habitual and repeated forfeitures may result in the removal of the filmmaker’s footage from the editing system and cancellation of their grant.

Filmmakers must demonstrate proficiency with Adobe Premiere. If the filmmaker does not have adequate experience with the software, they must use an editor who does. The editor must be an active Cinema Workshop member, as required on the crew list.