LODI was filmed on an iPhone 14 Pro using Filmic Pro and Moment apps. Courtney chose a 1.33:1 aspect ratio, which gives the film a unique visual style and enhances its intimate and personal narrative.

A little bit about Courtney

Courtney is a multi-talented actor, poet, film producer, and director. 

Born and raised in southern Oregon, Courtney began her filmmaking journey by creating rap parody films for school projects using a borrowed Canon XL1. Her career advanced to production roles in major films such as Transformers: Bumblebee, Top Gun: Maverick, and Mission Impossible: Dead Reckoning Part I.  She is the Creative Executive on the feature development team at Lucasfilm, one of the world’s leading film and entertainment companies. That’s right, she works in a galaxy far, far away.

We asked Courtney questions about LODI, mobile filmmaking life and challenges. Here’s what she had to say. 

Can you tell us about LODI?

“This is an incredibly personal story that took a lot of time and courage to share. I decided to film on an iPhone 14 Pro because it felt akin to how I would document a trip with my family. [It’s also] way easier (and cheaper) to film with a phone when you shoot 11 pages in one day and drive over 200 miles in a vintage Mercedes with no A/C”.

What are the top 3 things you have in your film kit bag for mobile filmmaking? 

“I always have a pretty good lighting setup. I usually bring a gimbal and then always remember to bring a charger. That is essential!”

What was the last movie that made you cry?

“The last movie that made me cry was Ghostlight [Directed by Kelly O’Sullivan and Alex Thompson]. I got to see it at a Film Festival, and it was a really beautiful story about a family dealing with past trauma”. 

What were the greatest challenges in making LODI?

“One of the main challenges in making the short film was the fact that it was so hot outside. When we were shooting, the cameras kept overheating, so we would put the phones in a little cooler and let them take a break between our takes. 

What is your biggest fear as a filmmaker? 

“One of the biggest worries I have about making a film is if it’s going to resonate with anyone. That’s the whole reason we tell stories. I want to speak to people’s hearts, to inform the way they change their relationships or live in the world. So that’s always the greatest hope but also the greatest fear that no one’s going to like or watch the thing you make. I’m very honoured and excited that Lodi is playing for the Dublin Smartphone Film Festival. I’m very grateful to the programmers. It’s always just a joy to know that people around the world are going to see your film”

Submit your film today—we’re excited to see your work!

We loved Courtney’s film LODI and learning about her journey in filmmaking. Whether you’re a budding or experienced mobile filmmaker, if you have a story to share, why not share it with the world? The Dublin Smartphone Film Festival is a fantastic opportunity to showcase your work and connect with our community of filmmakers.

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Marketing Tip 1: Know your audience

A critical success factor for any short film is knowing your audience. Understanding who your audience is will shape not only the creation of your short film but also its marketing strategy and the choice of festivals you submit to.

Practical steps in identifying your audience

Research Similar Films:

Look at films with similar ideas to yours and identify their audiences. Examine how these films succeeded in reaching their viewers and where they may have fallen short. Learn from them. 

Create Audience Personas: 

Personas are the backbone of any marketing strategy and a great way to focus your efforts. Consider demographics, psychographics and media consumption habits. Ask yourself, ‘Who would be interested in watching my story?’

Social Listening:

Read social media comments and conversations about similar films or genres to learn about audience interests and likes.

Marketing Tip 2: Plan your promotional footage

Start planning what promotional stills and behind-the-scenes (BTS) footage you need before filming. Why plan BTS and promotional content early? Well, there are many reasons;

• Clear Direction: Knowing what kind of promotional material you need in advance allows you to create a cohesive and consistent marketing message that aligns with your short film’s vision.
• Time Efficiency: When you’re in the thick of production, time is precious. A plan allows you to capture BTS content without disrupting the filming process.
• Storytelling: BTS content can tell the story of your film’s creation, engaging your audience and building a community around your project even before its release.
• Marketing Assets: The more material you have (stills, interviews, video diaries, etc.), the more assets you have for various marketing campaigns and festival submissions.

Tips for Planning Promotional Content

The Role of a Professional Photographer

If your budget allows, hire a professional photographer to take key BTS and promotional film shots. Professional photographs in your arsenal offer numerous benefits that can enhance the film’s appeal, marketing, and archival value. 

• Enhanced Visual Appeal: High-quality, professional images significantly elevate a film’s aesthetic for festival juries and film audiences.
• Expertise in Storytelling: Skilled photographers can capture the essence of scenes with dynamic compositions and adept lighting management, enhancing the story’s visual narrative.
• Marketing Reach: Using professional photos across posters, social media, and press releases can expand the film’s promotional reach and engagement potential.
• Efficient Workflow: Photographers can capture valuable BTS content without interrupting the primary filming process. .
• Valuable Archival Content: High-resolution images serve as key archival material for future retrospectives or special editions, adding long-term value.
• Cost-Effective Investment: While hiring a photographer adds to initial costs, the benefits of increased festival acceptance, audience reach, and overall film impact generally far outweigh the investment.

Marketing Tip 3: Build a Strong Online Presence

Before you even think about submitting your short film, ensure you have a professional online presence, such as a website, dedicated page or social media channel for your film. Include important information, a compelling synopsis, cast and crew details, and eye-catching visuals. A solid online presence can help build anticipation and credibility. 

  Source: iwalkwithghostsfilm offical instagram page

Document your journey and share it. Create a buzz by posting about the production process, interesting anecdotes, and sneak peeks.

Create engaging teaser content like trailers, posters, and behind-the-scenes footage.

Tailor your material for different platforms. What works on Instagram might not work on Facebook or X. Make sure your content is easily shareable and formatted correctly for each platform

This continuous engagement can build an invested following for your film’s festival journey.

Marketing Tip 4: Use festivals to spotlight your film

Festivals are a valuable way to showcase your short film. There are a few simple steps to maximise the benefits of your film festival submission.

Understand the Festival Landscape

Each festival has its character and audience, so it’s essential to research to find a good fit for your film’s genre, style, and audience. Use platforms like FilmFreeway to streamline the submission process. Remember to look beyond the big names. Smaller festivals can offer more personalised attention and may be more receptive to films from independent filmmakers.

Maximise Every Film Submitted

For smaller festivals, each film submission is an opportunity to promote both the film and the festival. Even if a film isn’t accepted, just the act of submission and the festival’s acknowledgement can be used as a marketing tool, celebrating the film’s attempt to engage with the festival community.

Network

Network at festivals, even if your film isn’t showing. Building relationships with other filmmakers, festival programmers, and attendees can lead to opportunities for collaborations and screenings.

Feedback and Adaptation

Pay attention to feedback. If your short film isn’t accepted, find out why and use that information to improve your marketing strategy or the film itself. Adapt your film’s length or content based on the trends and preferences of your target festivals.

Create a Compelling Press Kit

A well-crafted Electronic Press Kit (EPK) can make a significant difference. It should include a synopsis, director’s statement, high-resolution stills from the film, bios of the key cast and crew, and any notable facts that make the film stand out. The more professional and polished your EPK, the more serious festivals will take your film.

https://youtube.com/watch?v=cbuo_oR3O1Y%3Fautoplay%3D0%26mute%3D0%26controls%3D1%26origin%3Dhttps%253A%252F%252Fwww.dublinsmartphonefilmfestival.com%26playsinline%3D1%26listType%3Dplaylist%26list%3DPLaI4BbpCunp9Wf5Pvms-fb_zv_dS1w_cR%26showinfo%3D0%26rel%3D0%26iv_load_policy%3D3%26modestbranding%3D1%26enablejsapi%3D1%26widgetid%3D1

Keep Marketing Alive Post-Festival

Even after your film has been accepted into a festival or secured distribution, continue your marketing efforts. Through Q&A sessions, social media, and filmmaker interviews, engage with your audience. Positive buzz can lead to more opportunities and increased visibility.

Marketing Tip 5: Authenticity is Key

In your marketing efforts, don’t compromise your authenticity. Whether through a heartfelt director’s statement or a quirky, self-aware social media post, let your genuine passion for your film shine through. Authentic marketing resonates with audiences and festival juries alike.

Conclusion

Remember, marketing your short film for festivals is not just about getting your film shown; it’s about creating a presence in the industry. All marketing material should promote your film and tell a story about who you are as a filmmaker. With a smart strategy, even films that aren’t selected can gain traction and attention, setting the stage for your next project.

Embarking on the film festival circuit is a journey of storytelling within your film and the narrative you create around it. A thoughtful marketing approach can make all the difference in achieving festival success.

The post In the Spotlight: Marketing Tips for Short Film Festival Success appeared first on DUBLIN SMARTPHONE FILM FESTIVAL.

In a world where smartphones are ubiquitous, why not leverage their power to create your very own film? We have you covered with some handy tips to help you shoot your next high-quality production entirely on your trusty mobile device. From finding inspiration to selecting the right audio and video equipment, we will guide you through the process.

First things first, get inspired!

As they say, reading makes for good writing and the same holds true for smartphone filmmaking. Check out other successful smartphone films like Tangerine or keep up with the latest at events like the Toronto Smartphone or even our own festival, the Dublin Smartphone Film Festival

Now, lets talk about sound.

Nothing breaks immersion more than bad audio, so make sure to invest in quality sound equipment. Consider adding a RØDE microphone, like the VideoMic ME, or even a separate sound recording device, shotgun mic, and professional sound recordist for the ultimate audio experience.

On to video equipment.

Don’t be afraid to use a camera rig and other accessories with your smartphone. A grip mount and lens kit, like those from Moment, can help take your filming to the next level. And don’t forget to check your phone’ s storage space so you can capture multiple scenes without running out of space.

But wait, there’s an app for that!

While its best to keep your phone free of excess apps, some can actually help you achieve better shots. Check out Filmic Pro for advanced camera features,

By combining all of these elements, you will be amazed at the cinematic quality you can achieve with your phone. Of course none of this matters if you have not spent time working on your story. Start there, get some great actors, stunning locations and then find the tech you can afford to tell your story. In most cases this will be your phone

The post How to Shoot a Short Film on Your Smartphone appeared first on DUBLIN SMARTPHONE FILM FESTIVAL.

We talk an awful lot about mobile cinema here at the Dublin Smartphone Film Fest

vial . Having a mobile phone and the skills to create cinematic video can go along in other aspects of your life. Getting a job can be tough. It is a crowded, competitive landscape. Your mobile video skills could give you an edge. Filming an interview on a smartphone can be a great option, especially if you’re on a budget or need to be mobile.

Here are some tips to help you make the most of your smartphone camera and get the best results:

Use a tripod:

Keeping your phone steady is important for a good quality video. A tripod can help you to stabilize your phone and make it easier to film the interview.

Use a microphone:

The built-in microphone on a smartphone can be good enough for casual

use, but for an interview, its better to use an external microphone. If you are a budding documentary filmmaker you might have a lavalier laying around. You can use a lavalier microphone that clips to the interviewees clothing or a directional microphone that attaches to your phone to pick up sound from a specific direction.

Choose a good location:

Much like low budget filmmaking, production value can go a long way here. Look for a quiet location with good lighting. Try to avoid busy or noisy areas, as these can distract from the interview.

Frame your shot:

Make sure you frame the shot properly so that the interviewee is centred

and in focus. Avoid using the zoom function on your phone, as this can decrease the quality of the video. Although a creative at heart maybe avoid some more experimental angles for these video’s. Your potential employer may enjoy a break from the norm but it can also backfire. So maybe no Dutch angles

Be mindful of the background:

Pay attention to what is in the background of your shot. You want to choose a location that is visually appealing and not distracting.

Control exposure and focus:

Most smartphones allow you to adjust the exposure and focus

of the camera by tapping on the screen. Make sure to focus on the interviewees face, and adjust the exposure to get the right amount of light.

Shoot B-roll:

To make your video more interesting, try to capture B-roll footage of the

interviewee’s surroundings or the topic of discussion. This will help add context to the interview and make the video more visually appealing. Again keep it simple, maybe avoid epic drone shots and stick to footage that helps reinforce what you are saying

Edit your footage:

Once you have finished filming, edit your footage to create a cohesive,

engaging video. You can use editing software or apps to add transitions, titles, and other effects to your video. Again has a filmmaker you might need to fight the urge to grade your footage or add in complex edits. Keep it simple, you are selling yourself not your video skills (unless that’s the job you are going for).

. By following the tips outlined in this blog, you can ensure that your interview comes out looking and sounding professional. Remember to choose a quiet and well-lit location, prepare your questions beforehand, and practice speaking clearly and confidently. Additionally, consider using a tripod, a high-quality microphone, and other recording equipment to enhance the overall quality of your video. Finally, don’t be afraid to experiment and have fun with your self-interview. With some practice and perseverance, you can create a compelling interview that showcases your personality and expertise.

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In the age of TikTok and Instagram, it’s almost expected that you be able to churn out high-quality videos on your mobile device. But if you’re only starting out, chances are you don’t have the time or expertise to learn all the tricks of the trade. Luckily, we’ve got five tips that can help you take your videos from amateur hour to Hollywood quality in no time.

Start with Good Lighting

Good lighting is key when it comes to making any video look cinematic. If you’re shooting indoors, make sure to use natural light as much as possible. And if you’re shooting outdoors, make sure to choose a location with lots of natural light available so that your subject isn’t too dark or washed out.

Use an External Microphone

Mobile devices often come with built-in microphones, but they don’t always capture sound well—especially if there’s a lot of background noise. Investing in an external microphone will ensure that your audio is crisp and clear without any unwanted static or distortions.

We here at the festival are big fans of the BOYA directional microphone has a low cost way to get started

Stabilize Your Camera

Using some sort of camera stabilization tool (like a tripod) is essential for creating professional-looking video footage on your mobile device. Handheld sh

ots may look cool in certain situations but having a steady shot will make all the difference when it comes to making your video look high-end and cinematic.

Films like the Bourne series really pushed this handheld style. Be mindful that there is a difference between making it shaky on purpose and your film looking messy

Keep It Simple

Don’t try to cram too many elements into one shot—it can take away from the overall aesthetic of your video and make it look cluttered or chaotic instead of professional and polished. Instead, focus on one element at a time and keep things simple for maximum impact!

Edit Your Footage

Editing is an essential part of creating cinematic video footage on a mobile device, as it allows you to remove any unnecessary elements and add special effects that will bring your footage to life. There are plenty of free editing apps available for both iOS and Android devices—just be sure to play around until you find one that works best for your needs!

Remember, you don’t know what you have until you look at it in the edit. You will be surprised how music, and slight colour changes can bring your footage to like

With these five tips in hand, you’ll be well on your way to creating some seriously stunning videos on your mobile device! Keep experimenting with different tools and techniques until you find what works best for you—and just remember that practice makes perfect! With enough practice, anyone can learn how to produce cinematic video footage like a pro!

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In this article I will take you through another important tool that will help give you the edge.

A FIELD MONITOR!

Thanks to a recent update with Filmic Pro you can now get a Clean HDMI out from your phone. What’s a clean HDMI out I hear you say?

Let me explain

A clean HDMI out is the ability to be able to send a live signal from your phone through a HDMI cable to an external monitor. The reason for the word CLEAN is that this live signal does not contain any of the typical data that would appear on your phones viewfinder such as your recording status, exposure, focus, sound and recording time ETC.

How is this possible on my phone?

Up until now you could share a live feed from your phone using Filmic Pro but it would contain all the on screen information so it was just like mirroring your phone onto another device. It was helpful yes, but it didn’t give you a real representation of what the filmed image would look like. Thanks to a recent update within the Filmic Pro app you can now get a clean clutter free signal giving you a much bigger and better idea of what your Image would look like.

Why is this so important?

Everything is a little clearer

Size matters!! Shooting on your phone as revolutionized the way we shoot video. Having access to a phone 24/7 allows you to shoot some incredible footage. The drawback sometimes is your tiny screen. It’s not always easy to get a good look at the image you are shooting with your phone screen. There has been a time when I was sure a scene was adequately lit or in focus only to discover once I put it on a larger screen that was I had missed something. Having a field monitor onset will give you a bigger screen to give you a better Idea of what you are shooting. You can see changes you make in the focus, lighting or composition in much greater detail which is invaluable in ensuring you get it right on the day.

Everyone can see

Just because the device in your pocket allows you to write, shoot, edit and distribute your film all in a single device doesn’t mean you should do it all yourself. Film is collaborative after all so working with a crew is normally a sure fire way of ensuring a successful film. Up until now having your crew huddle around your phone screen as been a bit of a hassle. A field monitor changes all this, your actors and crew can get a better understanding of the scene being shot and this ensures there is less confusion on set

The leaps in technology is blurring the lines further between camera and camera phone and the addition of an additional monitor gives you even more of a leg up in filmmaking game. This coupled with your favourite SV ASSETS lens should push your filmmaking game into the stratosphere.

Happy shooting guys!

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Recently, two separate instances occurred, that made me want to explore the topic in a bit more detail, so here we are… The festivals very first blog post (first of many he says filled with hope). The first was in conversation. Someone asked me if there was anything they need to worry about when it came to editing their footage, I explained a few things but for the most part I said not to worry. This stuck with me a little because I thought, that’s not necessarily true, what if they wanted to colour their footage.

The second point and maybe the one that stood out was a comment on a Facebook group about colour grading. It was a reference to using colouring to make their movie more cinematic. It echoed this sentiment I had noticed over a period about how colouring your film, particularly adding LUT’s was the key to making something more “cinematic”. This word is thrown around a fair bit in relation to filming with your phone and I am not quite sure exactly what it is referring to, is it the addition of black bars or the use of an anamorphic lens? For me cinematic should come from things such as your shot selection and use of lighting

From my own experience colouring footage from my phone has some limitations and you need to understand those limitations to do it effectively. Colouring is all about the quantity of the information that is being recorded and it has more to do with the type and format of the video being recorded. The less compression of a recorded file the less information you have to work with.

HOLD UP… COLOR CORRECTION OR COLOR GRADING…AND WHATS THE DIFFERENCE?

Great question (if i do say so myself)! Colouring footage is made up of a number of steps. Doing the steps in sequence goes a long way to ensuring you nail your colouring. Colour Correction is that critical first step and it’s a manual process. I spoke with Richard Lackey and he summed it up in the best way.

Say you have been tasked with painting a wall in your house. The problem is the wall has various different patches of color on it. This is your uncorrected video clips editing together on your timeline. Color Correction is the process of adjusting these clips, one by one making sure they are all balanced, blacks, whites etc.

In essence, you are tweaking each patch on the wall until you get a consistent look across the whole thing. It’s only when you have created a consistency that you start grading your footage (more on that later).Needless to say it’s not the sexiest part of the post production process. It is manual and often times it’s a step that gets missed or skipped. However there are tools to help streamline the process. Using a color checker like the X-Rite ColorChecker Passport Photo can be ideal here. Including this in each shot or anytime the light changes in a scene means you are ensuring perfect adjustments every time. The important thing is to ensure you balance and expose your shot correctly. If this is off from the start then it is not the best foundation to start grading.

Check out the checker in action below;

Once you have ensured a consistency through your corrections it’s time to Color grade your footage. This is where you start adding your atmosphere and tone. MAD MAX fury road is probably the most extreme example I can think of over the last few years. Grading is where you add in color to help shape the mood of your movie. Using color correctly not only adds style to your film, but also aids in setting a tone for the audience. For example horror’s with their cold blues or warm romantic comedies. The color of your film goes a long way to selling the story to an audience. Your films color pallet is something that should be thought of in advance and should normally not be something that is “discovered” in post.

BUT LUT’s HAVE ALL THIS COVERED…RIGHT?

LUT’s (quick google search) stands for look up tables. These are a set of numbers that are “looked up” by whichever app you are using (keeping it phone) which equal a specific set of colors. With the addition of LUT’s in apps like LumaFusion and the ability for people to download or create their own, LUT’s have become all the rage and they are very impressive.

However, if we go back to Richards wall metaphor for a second ; say you have your wall before you have done any adjusting, all the patches are still there. If you don’t make any corrections to the colors to get them to match but simply decide to add your LUT. Its like a light coating of paint. Sure you can paint the wall with it and call it a day but the underlying patchy colors will still end up sneaking through.

On the other hand if you have made your corrections and gotten everything to balance first, the addition of a LUT can add a cohesive consistency to your clips.

BUT FILMIC PRO LogV2 HAVE ALL THIS COVERED….RIGHT?

We are back to the term “cinematic” here. The general held view is that if you want your footage to look more professional, shoot it in Flat or Log. Thanks to Filmic Pro, being able to shoot in this format, is now an option for smartphone filmmakers and isn’t just reserved for traditional larger camera users.

Yes Rob but what is it?

Without getting to much into the maths (because I am not very good at it) LOG means Logarithmic and essentially is a picture profile that allows you to preserve more information in your shots, in the shadows and mid tones by reducing some of the information in the highlights. You end up with a video that looks washed out but with much more information in the shadows. Shooting in this format makes it easier to add colours and detail back in post production.

Grand, I will just do that so?

Hold on not so fast! Much has been made about shooting in LOG but a quick look online will show you that their is some for and against. Shooting in log means you are removing some information from the shot assuming that you will have the knowledge, skill and tools to add it back in post production. It’s not as simple as turning it on and away you go, it still requires you to nail your exposure and balance on the day of the shoot as well as understanding the complex nature of coloring. Again with most things, plan, experiment and do the leg work before committing to using it. I suppose what I am trying to say is just because you have the option doesn’t mean you should. Understanding is key. If you have a particular look and style that you want to achieve for your film then go for it.

In a lot of cases nailing your exposure and white balance on the day in camera, controlling your lighting and making adjustments on set can help you accomplish your goal without having to “fix it in post production”.

Want to hear from the expert, check out our PODCAST episode on the subject with Richard Lackey

FUTURE FILM PODCAST

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One thing that does have a more definitive answer is how long is your short film? If your response to this is “HOW LONG IS A PIECE OF STRING” then I am both worried and fully prepared to be in for a long night at the movies.

A while back I was chatting with a student after class and he was looking for help. He was about to take his first steps in the film-making process and was preparing his first short film. I asked him what the running time would be and he told me about 50 minutes. I paused, I wasn’t sure the best way to say it but i felt, THAT’S WAY TOO LONG. I advised that he would be better off adding an extra 25/30 minutes and going for a feature. Naturally I can only comment on running time from the perspective of the Dublin Smartphone Film Festival and other festivals of our size but a good rule of thumb when making a short film is shorter is better.

Yes Rob but it’s my vision and it needs to be 45 minutes long

Listen, I for one am not going to tell any filmmaker to compromise their vision in order to get their films screened at a festival. You need to remain true to your story and if it takes 45 minutes then so be it. As defined by the academy of motion pictures, a short film is anything less then 40 minutes. But their is a logic to keeping a film short (more on this) and the more screen time you add to a short the less chance it has of being screened.

The way a script breaks down is that it is normally one page of screenplay for approx one minute of screen time. It normally doesn’t matter whether the script is full of action or dialogue or a mix of the two. Its just a good rule to follow if you are an aspiring screenwriter. There are of course exceptions to the rule. The script of the Lord of the Rings was 118 pages but the movies are 3 hours long.

So in a practical sense what you put on the page should reflect the length of your film. If you find yourself on page 40 of your short film screenplay it is maybe a sign that you need to trim it down a little. Take it from me. The first film I ever made was a wordless time travel drama. By the time I was finished the film clocked in at 22 minutes in length. I was adamant it couldn’t be touched. I sent it to a few festivals but it got no traction so eventually I gave up. Recently I found a copy of it and I decided to re-edit it. This time, through my older more world weary eyes, I was able to gut it down to 3.5 minutes long and honestly, I could have made it shorter. The point of that story is to really evaluate what you have done, seek the council of people and take their points on board. My film was filled with great B-roll footage to reinforce the central characters emotional journey but a lot of it was unnecessary and didn’t speak to the audience the same way I thought it did.

SHORTER IS BETTER

Making a short film can often times be a challenge and it is a different approach to making a feature. You need to be economical with your storytelling with a focus on one subject through to the end. We are so used to watching feature films that sometimes this bleeds into how we write shorts. We include things that might play better in a story that has more time to breath. The average recommended time for a short is less then 10 minutes so 9-10 pages of script (roughly). This I would argue is changing with peoples attention spans and peoples more developed visual approach to storytelling. For me personally I have noticed that the 7 minute mark is the sweet spot. To be honest, a solid one to two minutes will do wonders for you because they are short and easy to program.

SHORTER IS CHEAPER

The longer your film the more it will cost. A lot of times you are putting together your films with little or no budget. So the longer your film goes the more money it will need, be it renting locations, paying actors or even catering. Having a 40 page story on paper maybe incredibly expensive once you go to put it on screen.

SHORTER IS PRACTICAL

As I mentioned above, the longer your running time, the less chance it will have of being screened. The longer your film gets the more your running time starts to work against you. Festivals are inundated with films to be screened and the desire is to screen as many films from submitted filmmakers as possible. Longer shorts become an issue when it comes to programming an event because in order to show your 15 minute film it means not showing three or four shorter films from other filmmakers. Your film could be excellent but that 15 minute running time might start to work against you if you have four other excellent films that can be shown in its place. You find that the longer form shorts we show generally tend to be a masterclass and need to be shown. This isn’t a new thing strictly for festivals. It has happened with main stream movies and cinema for years. The normal Hollywood film aims for 120 minute mark. It is even built into contracts stating that the filmmakers will deliver a film no longer the 2 hours and 8 minutes or 128 pages. Why? Practical reasons. It has an advantage in theaters because they can have more screenings to make more money. How long this will last with the move to streaming and the audience demand for long form bingeable content? We could be looking at every movie with IRISHMAN running times soon.

Its important to understand there a number of factors at play when submitting your film to a festival. Running time can work against you so its important to keep that mind. Little things like adding in a cool production logo, a long opening and closing credits. These are things that seem impressive but feel like hold overs from features. Get in, tell and economical story and get out. The shorter your film is the more of a chance it will get screened and the more opportunity you will have for it to be viewed by an audience. In the end isn’t that the most important thing. For people to see an enjoy your film. Best of luck

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