APPLICATION INSTRUCTIONS 2017

2014 Recipient: RESULTS 2014 Recipient: LA BARRACUDA THE AUSTIN FILM SOCIETY GRANT (Formerly Texas Filmmakers' Production Fund) makes annual grants to emerging film and video artists in the state of 2017 AFS Grant Applications Texas. The Austin Film Society aims to nurture filmmakers towards career must be made through our website at www.austinfilm.org. leaps, and AFS Grant awards are provided to artists whose work shows For more information, call 512-322-0145 promise, skill, and artistic vision. Funded through revenues from benefit or email [email protected]. film premieres, the Texas Film Awards, the Texas Commission on the Arts and private and corporate donations, the grant serves to redress the loss of public funds for filmmakers by dispursing funds for production and distribution once a year and offering travel stipends to Texas filmmakers. Since 1996, AFS has awarded $1.7 million in cash and $332,730 in goods and services to over 495 projects.

Throughout the year, AFS staff tour the state to provide informational workshops on how to apply for the Grant in Dallas, Houston, Fort Worth, Austin and San Antonio. Workshops are announced through our website (www.austinfilm.org), local press, and through co-sponsoring regional associations. From April 17th-May 23rd, staff are available for one-on-one consultations either at the AFS offices or by phone to give feedback on draft proposals. Contact AFS at [email protected] for more info. This project is supported in part by the Cultural Arts Division of the City of The deadline for all applications is June 2, 2017. In August, an independent Austin Economic Development Department. panel of professionals from the national film community will convene in Austin to review applications and administer awards. Awards are announced at the end of August and grant disbursements are made in the fall. The Austin Film Society is a 501(c)(3) non-profit media arts organization. Established in 1985 by founder Richard Linklater, the Austin Film Society exists to empower our community to make, watch and love film and creative media. 2013 Recipient: HELLION 2016 Recipient: TOWER

I. Eligibility • You must notify AFS immediately of any for a full list of production services. Recipients In order to be eligible to submit to the grant, significant changes to your project that must meet MPS’ basic insurance requirements, you must meet the following requirements: occur after you submit your project. and MPS must be acknowledged in the fi lm’s credits. Projects that apply for production • You must be the director of the project in • If you are awarded an AFS grant, you services must have production needs for order to apply. are required to carry out a project that is their project after September 1st, 2016 (when consistent with the proposal you submitted. • You must be a Texas resident since June the grant will be awarded). Applicants should 1, 2016. You cannot apply if you are attending • If your project changes significantly from describe which services they will use in their school full time outside the state of Texas. your proposal, you must write us a written application. request before expenditure of grant funds. • AFS staff, Board members and interns may Approval isn’t guaranteed. not be the project applicant. AFS Kodak Film Grants Kodak is off ering two exciting opportunities for Projects must meet the following requirements: fi lmmakers interested in shooting or exhibit- III. AFS Grant Awards: What You Can Apply For • All genres of film and video are eligible to ing on motion picture fi lm. As part of the AFS Applicants can apply for any and all of the apply, except industrial or promotional Grant, Kodak is off ering $5,000 in-kind fi lm following cash and in-kind awards offered as pieces, music videos and “works-for-hire.” stock on either 16mm or 35mm. Applicants part of the 2017 AFS Grant, noting that cash must indicate that their project is shooting on • All projects must be stand-alone single grants will not exceed $15,000 per project. fi lm in order to apply. Stock must be redeemed works. TV or Web series are not eligible. Please note that each in-kind grant has its own within one year of the grant announcement. • Project must be in production, post eligibility requirements, so please read over the requirements for each grant carefully. production or distribution stages. Projects Kodak will also create a 35mm exhibition fi lm may not apply for development funds. print for one fi lm project of any length. AFS will AFS Grant - Cash Prize work with the fi lmmaking team to secure a pub- II. Eligibility for Previous Recipients • Projects may apply for up to $15,000 cash lic screening in Austin of the 35mm print when If you have already received an AFS Grant the through the AFS Grant fund. completed. This grant is non-transferable and following applies to you: must be used for the applicant project. • You cannot apply if you received two previous • Total cash support from the AFS Grant Stuck On On DCP In-Kind Grant AFS grants for the same project. This does will not exceed $15,000. However, applicants The Stuck On On DCP grant awards one the- not include AFS travel grants. can receive in-kind support valued in excess of the $15,000 cash grant (in other words, atrical digital cinema packages (DCP) for two • If you have only received one AFS grant, you applicants can apply to receive the MPS or diff erent features. The project may be a theatri- can reapply as long as you are in good Kodak in-kind grants on top of $15,000 cash). cal documentary or narrative feature up to 100 standing on your contract with us. You minutes each. This grant includes one 2K DCP must include a written progress report that MPS Camera and Lighting Austin Production creation and a 20% discount on a CRU format- shows your project’s status has advanced Services Grant ted hard drive. Prices may vary on hard drive significantly since the last time it was The MPS Camera & Lighting Austin Grant depending on time of request. All other fees will awarded funding. (Listed in the Required awards equipment and services for production. be waived. Delivery requirements and schedul- Attachments section). Applicants can request up to $10,000 worth ing for the DCP creation can be coordinated All applicants are required to do the following of services, which can include cameras, lenses, directly with Stuck On On. Please allow ample after submitting their grant application: lighting/grip/electric equipment, and more. turnaround time during the busy January to Please refer to the MPS website: MPSfi lm.com, April fi lm festival season. Stuck On On must be acknowledged in the fi lm’s credits. April 13th: El Paso, TX at the University of cash costs, not in-kind totals. Texas Rubin Center • You can request up to $15,000 in cash from The DJI AFS Grant April 24th: Austin, TX at the Austin Film the AFS Grant (please remember that total DJI technology provides drones and imaging Society’s Screening Room cash award will not exceed $15,000). solutions for motion pictures. This year, AFS May 16th: Austin, TX at the Austin Film is working with DJI to select one AFS Grant Project Summary: Society’s Screening Room applicant to receive a production budget and • Write a short synopsis that best describes suite of loaned DJI equipment (including drones, Check our website www.austinfilm.org/afsgrant your film’s story. cameras, and stabilizers) for the creation of a for updates to the schedule. Required Attachments: short film. DJI will produce behind-the-scenes From April 17 to May 23, staff will be available Upload each of the attachments as PDFs with content on the project and must be permitted by appointment to review your application and your application. to use footage from the film for marketing pur- provide feedback in advance of the deadline. poses. To accomplish this, DJI asks that the final Applicants must send in a draft of their PROJECT DESCRIPTION film be sent upon completion in full resolution. materials at least 1 week in advance of the (Required, Submit Online) Additionally, DJI must be acknowledged in the scheduled review, so the last date you can Project Description should not exceed 3 pages film’s credits. Unlike our other in-kind grants, contact us for a consultation is actually MAY and should include: you may apply for this opportunity even if the 16TH, but don't wait that long, as appointment • Description of the story of the film with film you are submitting for AFS Grant funds slots fill up fast, especially at the end of May. details about stylistic approach, visual is not a fit for it. There are two options in the Phone appointments are available for out- elements, story structure, and thematic application to apply; if you would like to receive of-town applicants. Contact artistservices@ threads. (Recommend 3 paragraphs) this funding for your application project, check austinfilm.org to schedule. the first box, if you would like to be considered • Description of your production plan, creative generally for the opportunity but don’t have a team, and information about project status V. Application Preparation project pitch, pick the second box. Applying for to date. (Recommend 2 paragraphs) Applying for the grant is now a mostly online the DJI grant does not affect how you are being process. Applications and supporting materials • Information about your target audience and evaluated for your other AFS cash and in-kind must be submitted online at www.austinfilm. distribution plans. (Recommend 1 paragraph) grant requests. If you want to apply for DJI org. Password-protected online links are the for a different project, the panel will evaluate • Details regarding your fundraising strategy preferred submission format. No DVDs or your current proposal and past work to get a and how AFS Grant funds will be used. physical media are accepted. Please note that sense of whether you would be a good fit for the (Recommend 1 paragraph) online links must not be replaced or changed opportunity. In addition to the grant, DJI will during the application review period (June PROJECT BUDGET (Required, Submit Online) provide all AFS Grant recipients with a special 2-September 1st), and all video submissions Project Budget should include the following DJI product discount. As with all AFS grants, must remain online until September 1st, 2017. required documents, and be very specific filmmakers retain rights to the project. Application Form Instructions about the applicant's plans to seek funds from sources outside the AFS Grant. EBW Grant by Sandra Adair Go to the grant section of our website The EBW Grant by Sandra Adair empowers austinfilm.org (it's under the "Artist Services" BUDGET SUMMARY (Required, Submit Online) female filmmakers. Female filmmakers apply- section if you don't find it on the home-page). • You must use AFS’ Budget Summary form, ing for the AFS Grant cash are eligible for the You will need to register on our website, if you available for download on the AFS Grant EBW2020 Grant, which will award $20,000 in haven't already, and you must be logged in to fill home page. grants to female filmmakers this year. If you out the application. You will be able to save and • For "EXPENSES," summarize your receive the EBW Grant by Sandra Adair, EBW return to your application, as long as you use expenses by production phase (pre-production, Grant by Sandra Adair must be mentioned in the same log-in information. production, etc.) from your detailed budget the film’s credits in addition to AFS. General Information: • For "RESOURCES", list out all of the income IV. Workshops/Consultations • Fill out this section in its entirety. sources including your own contribution, It is highly recommended that you take • Use the 2nd name field if you are working in-kind donations, grants, individual and advantage of the workshops and/or one-on-one with a co-director. corporate donations, sponsors or investors, consultations offered by AFS staff. Workshops and fundraising. • Provide an email and mailing address that will are offered in major Texas cities (Dallas, be valid as of August 2017. • Total Resources should equal Total Expenses. Houston, San Antonio, El Paso & Austin) mostly DETAILED BUDGET (Required, Submit Online) in April and May. Check our website www. Project Information: austinfilm.org/afsgrant for the schedule. • Fill out a running time, even if it is an • Provide a detailed budget that includes pre- Confirmed workshop schedule for 2017: estimate. production, production and post-production costs. You may use your own budget sheet or April 6th: Houston, TX at the Aurora Picture • Your total cash cost should only include download our form from the AFS grant site. Show PROJECT TIMELINE (Required, Submit Online) information, check out the Grant Writing We WILL contact you if: • In bullet points, list the key stages of your Tipsheet. • There is any piece of your application missing production, with the time allotted to each • Online video links must NOT be replaced or • Your proof of residency is invalid and anticipated dates. changed during the application review period • Your sample link doesn’t work • Timeline should cover the project from pre- (June 2-September 1st) production all the way through distribution. PROOF OF RESIDENCY (Required, Submit Online) Questions? • Project timeline should not exceed 1 page. You must have been a resident of Texas since June 1, 2016. • Check the FAQ on our website: PROJECT PERSONNEL (Required, Submit Online) www.austinfilm.org • Acceptable forms of proof of residency • Write up to 1 page detailing the bios of your • Questions regarding the application will be include: key creative team. answered during regular business hours, Mon- o Texas driver’s license TREATMENT OR SCRIPT (Required, Submit Online) Fri, 10am - 6pm at artistservices@austinfilm. o A Texas voter registration card org. No phone calls please. If you'd like to speak • Write a treatment (1-10 pages) that focuses with us by phone, please send an email request entirely on the story and the characters. o A utility bill in your name with your Texas with the best number to reach you. address. • For narrative projects, a full script is • Sample applications and budgets can be preferred to a treatment. This is not a STATUS REPORT downloaded from our website. screenplay competition and so early drafts (only for projects previously funded by AFS, Submit Online) are fine. You can indicate how many rewrites For those applicants seeking a second round of Award Announcements will be posted on our website at you plan to do in your project description or funding for a project already awarded an AFS the conclusion of the panel session by early September. timeline. grant, we require a 1 page status report. This Follow-up letters are sent to all applicants. Applicants report should detail how the previous grant was ADDITIONAL SUPPORT MATERIAL (Required, whose projects are not selected or a grant may request used and where the project is on its road to Submit Online) written feedback on their application by emailing • In digital format, reviews, articles, images or completion. This will be filed with your previous [email protected]. Notifications will go out application. letters of support that show your project in by September 1, 2017. a favorable light. ADDITIONAL REQUIREMENTS • Additional video samples, such as a link to a For applicants requesting distribution funds: full feature or full short, are encouraged. • Applicants requesting funds for distribution • Additional support material must not exceed must provide footage from the submitted 5 pages. project in their video sample. • New for 2017: Letters of support are For applicants requesting more than $10,000: encouraged but not required. You may • Applicant must submit their own directing submit up to two letters of support with work in the video sample (see Video Sample) your application. See “Grant Writing Tips” for advice about letters of support. Sending Applications • All materials must be uploaded to your online Once you submit your online application and application as a single PDF, video samples supporting materials, you'll receive a must be submitted as links in the designated confirmation email from us. If you do not space on the application. receive a confirmation email within the hour • Do not send: any hard copy material, actor after submitting, it is possible that we did headshots or DVDs. not receive your application, OR your email preferences need to be adjusted. Please email VIDEO SAMPLE (Required. Submit video link and password us right away at [email protected] in application.) so that we can correct the problem. We do not accept DVD submissions for video samples. Password-protected video links are Please note that AFS staff will NOT contact you accepted as part of the video sample and must for replacement materials if: satisfy the following requirements: • You fill out your budget coversheet or budget • The video sample must be 6 minutes or less incorrectly. We will use what you submitted in length that showcases your best work. as-is The sample can include: a scene from the • Portions of submitted materials seem proposed project or prior work. For more incomplete or insufficient GRANT WRITING TIPSHEET

OK, NOW YOU’VE READ don’t try to explain it all – your treatment to your post-production schedule but need to the guidelines, you’ve visited the FAQ, it’s time or screenplay will tell the whole story. Get a shoot for one more week with the subject of to begin. A word to the wise, give yourself friend who doesn’t know the story to read your your documentary to finalize the ending of your plenty of time to complete the application. It’s description and see if they can follow it. story? not something you can complete in one day, and The “Why” Target Audience and Distribution Plan if you try to, it’ll probably show. Recognize that the panel may want to know why You need to make it clear that you’ve given PROJECT DESCRIPTION you, in particular, want to tell this story, or why some thought to how you’re going to get your In the first round of review, the project you are the best person to do so. If it’s based film out into the world, including your back-up description is the most significant written part on a personal experience, let them know, or if plan if the best-case scenario of premiering of your application. Think of it this way - you’ve the subject matter is something you have some it at Sundance and selling it for $1 million got three pages to make a summation of your familiarity with, describe how that came to doesn’t work out. Are there any specific niche entire proposal. The other materials (the be. Especially if your story or subject is rather audiences that would be pre-disposed to like or budget, the timeline, the personnel page, the heady or abstract, putting a little bit of yourself identify with your project? How are you going to video sample, etc.) are there to expand in more into your proposal helps the panel see the reach them? Say you’re making a documentary detail on what you’ve laid out in your 1-3 page person behind the project. about drag racing, perhaps you’ve come from project description. The “Look” that world yourself and you know that if you make a DVD and advertise it on drag racing Make sure your project description does ALL of Let the panel know how you’re going to websites you could sell a few thousand copies? these things: translate this story into visual language. If your project is a documentary about a Or say you’ve made several short films that • Describes the STORY OF THE FILM, with historical event, you can explain it perfectly have done well on the festival circuit and you’ve details on the stylistic approach, visual with statistics, anecdotal evidence and pleas made friends with programmers at some big elements, story structure and thematic for justice, but the panel wants to know what European festivals and you have a reasonable threads. they will actually see in the finished film. Just a expectation they’ll look at your first feature • Describes the production plan and provides bunch of talking heads regurgitating this stuff? with some heavy interest. Or, you know of information on the project status to-date, as Or have you uncovered an incredible wealth certain film-focused websites who love to well as your unique approach to the material. of archival material that is going to bring a discover new artists. Which communities will • Provides information about your target 75-year-old story to 21st-Century life? get behind this film? audience and distribution plan. • Details your fundraising strategy and how AFS Likewise, if you’re making a narrative, describe funds would be used. your visual strategy with your film. Lots of long Fundraising Strategy takes with graceful dolly moves? Or a fast- You also need to make it clear that you’ve got a The Story paced energetic shooting style with a restless plan to pay for all this stuff. Describe how much Of these four elements, the first one is the hand-held camera swirling around the actors? money you’ve raised and from what sources. most important. The story of your film is Feel free to name-check your influences here. Describe the sources of funding which you are what will make it interesting and unique. Do What films/images/photographs/paintings going to go after in addition to the AFS grant. your best to describe the story in clear but inspire you when you think about how you want Plausibility is important! If you are a first-time evocative language. Don’t be afraid to give away your film to look? feature filmmaker and you haven’t raised a dime the ending – this isn’t a DVD box cover, it’s a The Production Plan yet for your $300,000 budget, you better make grant proposal. Your “audience” (the panel) Now that you’ve laid out your story, its themes a convincing case that you have a rich uncle needs to know what story they’re funding. and its visual style, describe how you’re going who is going to supplement the $15,000 you’re In describing the story, take the advice of to pull all this off. Chances are you have more asking for from AFS. Strunk and White - “omit needless words,” and ambition than you have cash in the bank, so It is important to be realistic about your “use the active voice.” Identify who in your story what specific resources do you have to bring to crowdfunding goals. While crowdfunding is (whether it’s a documentary or a narrative) bear that the average filmmaker doesn’t? Are now essential to almost every independent is active and is striving for something and you attending a well-funded film school where project at some phase of production, it is not a describe in clear terms what they’re doing and you can get all the lights, dolly tracks and free given that every project will be successful. Our how and why they’re doing it. Describe their student labor you need? For your documentary juries tend to be critical of overly ambitious obstacles and how they overcome them (or about Irish mine-workers do you have a kindly crowdfunding aspirations particularly when don’t!). Then, tie this story to the themes you’re aunt in Dublin who will let your entire crew stay they aren’t articulated in this section of the hoping to explore or what ideas or issues you’re with you for 3 months? application. You must demonstrate that you hoping to illustrate or critique by making this Also, be sure to let us know where you’re at in have a thoughtful and researched approach to film. this process. Have you raised $45,000 of your your campaign: in the amount of money you Avoid over-explaining the story or getting $50,000 budget and secured all your cast and plan to raise, the team assembled, and the bogged down in superfluous details. If you have crew and are ready to go once you get that last timeline. a complex plot with many twists and turns, chunk of funds in? Are you fourteen weeks in Project Description vs. Other Materials also use brief title cards between segments to As stated above, make sure that your project explain what you are showing. description and the rest of the application Previous projects materials (budget, timeline, personnel page, You can include a previous work as an example etc.) are all working together to make it clear of your filmmaking ability. This works best when that you have thought this project through in the older piece is similar in style and/or subject full. You don’t want to lay out a proposal in the matter to the proposed project. If you’re project description that your other materials making a cinema verité documentary about do not support. If you describe a Stanley migrant farm workers and all of your previous 2011 Recipient: COMPUTER CHESS Kubrick-like cinematic vision, with lots of dolly work was in the vein of Mel Brooks-style shots & crane shots & Steadicam moves all over comedies, it’s going to be a bit of a stretch for the place, but the budget has none of those the panelists to envision where you’re going items priced out, it will look like you don’t know with the new film. If your proposed project is a what you’re talking about. departure from your previous films, just try to And vice-versa – don’t reference things in your submit your most polished work. supplemental materials that aren’t addressed Do not randomly select the first 6 minutes in your project description. For example, if you of your feature film unless that is definitely identify in your project timeline that you will be your strongest work. We recommend pre- traveling to Australia, there should be airfare selecting the strongest scenes of your feature line items showing up in your budget. to determine what you submit as a part of your 2011 Recipient: ZERO CHARISMA The Video Sample 6-minute sample. In the final round of review, the video sample is First time filmmakers the most important part of your application so If this is your first film ever, and you haven’t think carefully about what it will be! shot anything yet, you still need to submit a AFS requires a 6-minute or less video sample. work sample. You can submit a previous work You want the video sample to give the panel a from one of the key players on your production sense of what the completed proposed project team. Again, any resemblance to the proposed will be like. In descending order of preference, project makes it easier for the panelists to the best way to do that is: assess. Remember you are ineligible to ask 1. Submit material from the proposed project for more than $10,000 if your work sample 2. Submit a previous project you directed only features work from someone on your 3. Submit a project from someone on your production team. 2013 Recipient: PETTING ZOO production team (if you have never directed Use Section H to indicate anything that is something yourself, consider submitting several incomplete about your work sample - if the examples of work from members of your sound levels haven’t been mixed, if you’re using production team; we recommend samples from temp music or a temp narrator or uncleared your DP, creative producer or writer) music, if the image is low-resolution, whatever Material from the proposed project the issues may be. You might know that song you’re using is a temporary Ideally you can submit a polished scene or two placeholder, but if you don’t tell the panelists that will give the panel a good sense of what that and your budget doesn’t reflect the costs this project will be like. Even if you just have for copyright clearance, they may question the raw footage, choose some select moments thoroughness of your application. that highlight your best stuff. Avoid sending in a for your film. While trailers can show You should be ready now. Daunting? Perhaps. off your production value and the scope of Impossible? No. And here’s a final bit of advice: your project, they won’t necessarily convey the if you don’t apply, you definitely won’t get real substance, the pacing or the character a grant. We look forward to reviewing your development of your piece. Some of the most proposal! successful work samples have included a few GOOD LUCK! selected scenes followed by the rough cut in its entirety as additional supporting material. Just make sure you use the written description of your sample (Section H) to explain and give context for what you are showing. Feel free to ADDITIONAL RESOURCES

Following is a sampling of organizations that can assist you in the grantwriting and planning process: Center For Arts Management And Technology www.artsopportunities.org Chicken & Egg Pictures www.chickeneggspics.org Cinereach www.cinereach.org Creative Capital www.creative-capital.org

2012 Recipient: ASH Film Independent www.filmindependent.org There is no right way to seek funding—your A comprehensive line of publications on The Foundation Center approach will be dictated by your material. practical issues of indie production is available www.foundationcenter.org And there is no magic list of sources of funds. from Michael Wiese Productions. Check out The Funding Exchange Here are some of the resources that we find Film and Video budgets and www.fex.org ourselves recommending over and over: The Independent Film and Videomakers Guide The Grantsmanship Center Shaking the Money Tree: How to Get Grants and www.mwp.com www.tgci.com Donations for Film and Video The Ultimate Film Festival Survival Guide Morrie Warshawski Chris Gore Humanities Texas www.humanitiestexas.org www.warshawski.com FILMMAKER MAGAZINE Independent Television Service (ITVS) 43 Ways To Finance Your Feature Film: A www.filmmakermagazine.com www.itvs.org Comprehensive Analysis Of Film Finance IFP Independent Feature Project John W. Cones IFP's Guide to Granting Organizations IFP.org/resources/IFPs-Guide-to-Granting- www.ifp.org Spike Mike Reloaded: A Guided Tour Across A Organizations National Endowment For The Arts Decade Of American Independent Cinema INTERNATIONAL DOCUMENTARY ASSOCIATION arts.endow.gov John Pierson International Documentary Association P.O.V. Rebel Without a Crew: Or How a 23-Year-Old www.documentary.org www.pbs.org/pov/ Filmmaker with $7,000 Became a Hollywood Roy W. Dean Film and Video Grants Player www.fromtheheartproductions.com Robert Rodriguez Sundance Institute www.sundance.org Texas Commision On The Arts (TCA) www.arts.state.tx.us Texas Film Commission www.governor.state.tx.us/film USAProjects www.usaprojects.org/projects PREVIOUS GRANT RECIPIENTS

2016 AFS GRANT RECIPIENTS INNER SANCTUM Keith Maitland NOTHING HUMAN Aaron Jacob Weiss and Robert Getting Real IDA Conference Tom Rosenberg FEATURE NARRATIVES Weiss PJ Raval Berlin International Film Festival SHOOT THE MOON $5,000 cash for Production Getting Real IDA Conference Graham Lenoir Carter PO NARRATIVE SHORTS $5,000 cash for Production Our 2016 Panelists included: Timothy Edwards MPS Camera & Lighting Award ATLANTIC CITY ·Dennis Lim Hawaii International Film (in-Kind): $10,000 in camera and Miguel Alvarez Festival equipment rentals ·Daniel Patrick Carbone Colaborator Narrative Short ·Grace Lee Film Grant, co-sponsored SLASH FRIDAY’S CHILD by TXMPA: $5,000 cash for Clay Liford Andrew J. Edwards Production and an in-kind 2016 AFS TRAVEL GRANT Stuck On On DCP Grant package worth $33,000 RECIPIENTS Edinburgh International Film (in-Kind): one theatrical digital including a Panavision camera Festival & Outfest Film Festival cinema package package, Assimilate Software, 219 Final Draft Software, and GoPro Edward Hancox SOUTHWEST OF SALEM: THE Hero 4 Black Camera. MUTT Palm Springs International STORY OF THE SAN ANTONIO Katie Graham and Andrew ShortFest and Film Market FOUR Matthews ESCAPE VELOCITY Deborah S. Esquenazi $8,000 cash for Production Caleb Michael Johnson 1985 Hot Docs Canadian International Kodak Film Award (in-kind): $2,000 cash for Post- Yen Tan Documentary Festival & Tribeca Production Film Festival $4,500 in film stock International Film Festival MISS JUNETEENTH INBETWEEN DAYS THE SEND OFF Channing Godfrey Peoples Madli Laane A SONG FOR YOU: THE Patrick Xavier Bresnan and Ivete Lucas $8,000 cash for Production $3,000 cash for Production AUSTIN CITY LIMITS STORY Keith Maitland BFI Film Festival THE EPIPHANISTS SUNSHINE AND RAIN Seattle International Film Scott Stark Festival TOPOPHILIA Vish Vallabhaneni $2,500 cash for Production Peter Bo Rappmund $2,500 cash for Distribution AFTER SPRING Vancouver International Film FEATURE DOCUMENTARIES Ellen Martinez Festival DOCUMENTARY SHORTS Stockholm International Film THE SECRET LIFE OF LANCE Festival TOWER LETSCHER LAVOYGER Keith Maitland Sandra Adair Rachel Bardin ABOVE ALL ELSE Hot Docs Canadian International $4,000 cash for Post- $3,000 cash for Distribution John Fiege Documentary Festival & IFP Production New York Film Festival Spotlight on Documentaries Stuck On On DCP (in-Kind): SKIP DAY one theatrical digital cinema BECOMING BLAIR TRACES/LEGACY package Patrick Xavier Bresnan and Ivete Lucas Briana Barsalou Scott Stark PEYOTEROS $4,000 cash for Post- Slamdance Film Festival New York Film Festival Production Eugenio del Bosque Gomez BUILDING THE AMERICAN $4,000 cash for Production NATURALISM DREAM BORN WITH IT Peter Bo Rappmund Chelsea Hernandez Alexander Koffler $2,000 cash for Production NALIP Media Market $5,000 cash for Production Kodak Film Award: $500 in film stock BULL DOKDO: LONE ISLAND Matthew Koshmrl ANIMATED SHORTS Annie S. Silverstein Sundance Screenwriters Lab $5,000 cash for Production ENSUEÑO UNTITLED MICHAEL BRODY José Luis Gonzalez IN THE AIR JR DOCUMENTARY $4,000 cash for Post- John Fiege Keith Maitland Production IFP Spotlight on Documentaries $10,000 cash for Production TIGHTLY WOUND IS IT TRUE WHAT THEY SAY CANINE SOLDIERS Shelby Gaffney Hadden Scott Stark Nancy Schiesari $5,000 cash for Production International Film $3,000 cash for Post- Festival Production 2016 INTERNATIONAL JUSTICE FOR JENNIFER SEADRIFT DOCUMENTARY PJ Raval Timothy Tsai ASSOCIATION (IDA)/AFS IFP Spotlight on Documentaries Powered by Dell Grant (in-kind): TRAVEL GRANT RECIPIENTS a post-production technology package valued at $10,000 Deborah S. Esquenazi NAKOM TW Pittman and Kelly Getting Real IDA Conference Daniela Norris Berlin International Film Festival