IDFA is looking for emerging documentary film talent!

From July 1 through July 6 2013, IDFA organizes the sixth edition of the Summer School: a tailor-made training program for emerging filmmakers, taking place in Amsterdam and aimed at strengthening the narrative structure of documentary projects. Around sixteen projects from all over the world will be selected for the Summer School 2013. The deadline for submission is April 1, 2013.

IDFA WorldView Summer School offers the opportunity to meet and work with highly esteemed filmmakers and film professionals who are willing to share their knowledge and experience with emerging film talent. The Summer School combines individual coaching with group sessions and an inspiring cultural program in a relaxed atmosphere. It offers two types of training possibilities: Script Development and Editing Consultancy.

Filmmakers who are selected have the opportunity to bring a sparring partner: a creative producer, a co-scriptwriter, or an editor in the case of participation in Editing Consultancy. If a project is selected, a project fee of €750 (excluding VAT) is due.

Participants will be coached by eight international documentary experts. In previous years experts like Carmen Cobos (Producer, the Netherlands), Kate Townsend (Executive Producer BBC Storyville, UK), Sabine Bubeck-Paaz (Commissioning Editor ZDF, Germany), Debra Zimmerman (Distributor Women Make Movies, USA), Erez Laufer (Editor, Israel), Peter Wintonick (Producer/ Director, Canada), Audrius Stonys (Director, Lithuania) and Janus Metz (Director, Denmark) were tutors at the Summer School.

We're delighted to welcome an exciting new pitch to Sheffield Doc/Fest in 2013 - The New York Times Op-Docs Pitch. Get your short documentary viewed by the world on nytimes.com.

Op-Docs is The New York Times editorial department’s forum for short, opinionated documentaries, produced with wide creative latitude and a range of artistic styles, covering current affairs, contemporary life and historical subjects. Contributors range from Oscar winners (Errol Morris, Alex Gibney, Roger Ross Williams, Jessica Yu) to emerging filmmakers and artists.

If you have an idea for short that you think could fit the editorial and creative scope of Op-Docs, this is your opportunity to pitch it on stage at Doc/Fest to the NYT team.

The winning pitch gets an opportunity to produce an Op-Doc for The New York Times with a budget of $5,000 (USD). Payment and publication will be subject to The New York Times editorial department’s editorial review and approval of the film.

The New York Times will have an exclusive premiere window to present the winning film on all its platforms and will share non-exclusive rights in perpetuity. Prior to pitching at Sheffield/Doc Fest, all finalists will need to sign an Op-Docs editorial agreement with The New York Times. Read the full terms and conditions by downloading the document on the webpage.

The Women In Film Foundation's Film Finishing Fund (WIFF FFF) supports films by, for and about women by providing cash grants of up to $15,000 and in-kind donations such as production services. The new grant cycle is currently open and WIFF FFF is accepting submissions. Filmmakers who are eligible may find more information and apply through: www.wif.org/fff.

Since the inception of the Fund in 1985, the Foundation has awarded more than $2 million in cash and in-kind services to 170 films, ensuring that innovative films can be completed and seen by audiences worldwide. And now, for the third year, the organization's Film Finishing Fund is generously sponsored by Netflix, which provides cash grants and meaningful consultation regarding distribution to filmmakers. Cash awards range from $1,000 to $15,000, with the number of grants varying from year to year.  The in-kind grants may include post services, such as online editing, sound mixing, color correction, closed captioning, in addition to others. 

 In order to apply for a FFF grant, there are slightly different requirements for documentary and narrative films. A documentary filmmaker must have completed principal photography and a rough cut, while a narrative film maker must have finished 90 percent of principal photography and a rough cut the time of application.  The program funds filmmakers working in both short and long formats in all genres-narrative, documentary, educational, animated and experimental. Filmmakers do not have to be Women In Film members to apply for the FFF, and we encourage applications from around the world.  Please note that student projects are not eligible to receive Film Finishing Funds.

For a Film Finishing Fund application, please go to: www.wif.org/fff.

For more information, contact the Women In Film Foundation coordinator at foundation@wif.org, 323 935 2211 or visit: www.wif.org/fff.