HI-TRANSFER

One of the best parts of working at YouTube is helping connect creative voices from around the globe with the audiences they deserve. So, we've teamed up with Ridley Scott and Scott Free London, the Venice Film Festival, and Emirates to create Your Film Festival, a global competition that will provide one deserving entrant with a half million US dollars to work on their next great story. Here’s an overview:



Starting February 2, you can submit your short, story-driven videos (15 minutes or less) on Youtube.com/yourfilmfestival. Entry is free and open to people 18 years of age and above, and all genres and formats are welcome: live action short, animation, documentary, web-series episode, TV pilot — you name it. Your video must be story-driven, and cannot have been publicly shown or distributed prior to January 1, 2010. Full rules are available on the Your Film Festival Channel.

From there, the Scott Free team will select 50 semi-finalists from across the globe by June 2012. YouTube users will then vote for their favorites to select 10 finalists, whose videos will then be screened at the 2012 Venice Film Festival. A jury led by Ridley Scott will crown one grand prize winner, who will receive a $500,000 production grant to work with Scott’s team to create a new story for the world to see.



For more information, check out the Your Film Festival Channel, and get your entries in before March 31 at midnight ET.

We can't wait to see what you've got.

Nate Weinstein, entertainment marketing manager, recently watched “Panic Attack."

Today, we’ve got some exciting updates from editor Joe Walker and Oscar-winning director Kevin Macdonald about Life in a Day, the documentary shot by YouTube users about a single day on Earth.

First, as we previously announced, to celebrate the one-year anniversary of the film’s making, there will be a sneak-peek premiere in cities across the US on July 24, five days before National Geographic begins to release the film in theaters nationwide. If you want Life in a Day to play in your town, visit the Life in a Day channel and request a screening. National Geographic, in partnership with Cinedigm, will collect your requests from now through August, and will try to bring the film to those towns and cities where the demand is highest (either for the July 24 premiere or the following release).

Second, you can also check out the Life in a Day Trailer Remixer. If you haven't already seen the trailer, we recommend watching it. After that, go to the Life in a Day channel or directly to the Remixer page, where you can edit and publish your own trailer to share with your friends and the world. All of the trailers will appear on the Life in a Day channel, and National Geographic may feature some of their favorites at the film’s premiere.





One more exciting announcement: Life in a Day opened theatrically this weekend in the United Kingdom to critical acclaim! According to a critic from The Telegraph, the 5-star film is "Extraordinary…the summer's most inspiring film." For users in the US, don't fret: National Geographic is bringing the film to theaters across the country in late July.

Be sure to subscribe to the Life in a Day channel for all the latest news, and check out the Life in a Day Facebook page for daily updates.

Nate Weinstein, Entertainment Marketing Manager, recently watched the "Life in a Day Trailer."

Every spring, the Short Film Corner at Cannes features hundreds of the world's best shorts. Now, for the third year running on YouTube, you'll be able to watch 10 of the best, courtesy of the National Film Board of Canada's 7th Annual Online Film Competition.

How does the competition work? The curators at the NFB picked their favorite films from the Short Film Corner, choosing an eclectic mix of languages and genres. To vote, all you have to do is watch and thumbs up the ones you like. Voting is open to users across the globe. NFB will tally the votes and the winner will be announced at Cannes and on the NFB's YouTube channel on May 19.



Enjoy!
Nate Weinstein, Entertainment Marketing Manager, just watched The Crazy Nastyass Honey Badger

Are you a film festival fanatic? Do you love keeping up with the latest indie hits? Are you at least somewhat interested in hearing David Duchovny voice a polar bear that’s BFF with Leonardo DiCaprio? Of course you are!

Since not everyone can make it to New York City for the 10th annual Tribeca Film Festival, YouTube, Tribeca and American Express have teamed up to bring the festival to you.

From today through May 17, check out the YouTube Screening Room for short films from both past and present Tribeca Film Festivals. Here’s a snapshot of the first set of films you’ll see:

The Beaufort Diaries



Beaufort is just a small town bear, living in a lonely world... What happens when an arctic refugee finds himself adrift in LA-LA Land? Behold Beaufort's rocket rise to stardom, his inevitable crash and burn, his enduring, inspiring friendship with actor Leonardo DiCaprio, and his painful journey to redemption and bear-awareness.

Brink



Jeremy has been in love with his best friend, Evelyn, since before he can remember. He decides to profess his love for her through a simple, thoughtful letter… but there's a strong chance they will never see each other again.

Ignorant Bliss of the Sun and Moon



The Ignorant Bliss of Sun and Moon follows a down and out Everyman as he cycles between bouts of self-destruction and momentary bliss. When luck finally comes his way, his life is at least momentarily transformed and he's finally able to realize something useful on earth.

Loose Change



Just because you don't remember, doesn't mean you forget. A Brooklyn tenant is in for a big surprise when his senile landlord finally remembers him.

Mr. Stache



Mr. Stache always believed he had an inner mustache. Now he’s wearing it on the outside. Where it makes way more sense....Mr. Stache is the 2010 winner of "My Movie Pitch," a contest launched by American Express on YouTube to help bring unique independent movie ideas to life.

Check out the YouTube Screening Room again on April 29 to catch the next installment of Tribeca award-winning short films.

Kinzie Kramer, Associate Product Marketing Manager, Entertainment, recently watched “Charles Bradley - The World (Is Going Up In Flames).”

On July 24, 2010, thousands of people around the world uploaded videos of their day to YouTube to take part in Life in a Day, a historic cinematic experiment to create a documentary film about a single day on earth. From over 80,000 submissions, executive producer Ridley Scott and Oscar winning director Kevin Macdonald have crafted a 90-minute feature film that paints a surprising, moving and entertaining portrait of the world today.

The movie premiered at the Sundance Film Festival in January, and was simultaneously live streamed here on YouTube. However if you missed it, or want to see it again on the big screen, worry not. National Geographic will be bringing ‘Life in a Day’ to theaters around the US on July 24th, 2011 - the first anniversary of the day the movie was shot.

To whet your appetite, the official trailer for ‘Life in a Day’ has just gone live.



For those outside the US, stay tuned for information about international releases in the coming months, and remember, you can subscribe to the official ‘Life in a Day’ channel to be the first to hear news and updates from the team.

Tim Partridge, Marketing Manager, just watched “The ‘Life in a Day’ trailer.”

Combine some tinseltown stardust with a forward-thinking director and what do you get? Hollywood's first feature-length film created specifically for the internet.



Presented by Lexus and now playing in the YouTube Screening Room, Girl Walks Into A Bar is a comedy about a seemingly unrelated group of characters spending a single night at ten different bars throughout Los Angeles. Directed by Sebastian Gutiérrez, the film stars (among others) Carla Gugino, Zachary Quinto, Danny DeVito, Rosario Dawson, Josh Hartnett and Emmanuelle Chriqui as a desperate dentist, an undercover private detective, a pickpocket, a gangster, and an exotic dancer.

Since the movie is chaptered, you can either watch it in its entirety or in installments via the playlist below.



Enjoy!

People who create content for YouTube today come from all walks of life: aspiring filmmakers, moms with cooking shows, teenage gossip vloggers, fantasy football commentators, ironing skydivers—the list goes on and on.

Very often, these dedicated YouTubers wear several hats at once: actor, writer, director, producer, cinematographer, studio head, and lead marketer—in other words, to get their videos to the world, they need to know how to do it all. But we figure there are people out there who’ve always wanted to express themselves through video, but may be limited by funding, video-making skills, insufficient tools, or just knowing where to start. That’s why today we’re establishing the YouTube Creator Institute - the first initiative from YouTube Next - to help nurture these content creators, existing YouTube partners, and the next generation of stellar YouTube talent with the skills they need to thrive online and offline.

We’ve worked with some of the world’s leading film and television schools to put together the YouTube Creator Institute. Based both at YouTube and onsite at the campuses of our institutional partners, participants will learn from a unique new media curriculum, apply new media tools, find out how to build their audiences, be promoted globally on the YouTube platform, and engage with industry leaders and experts. Participants will learn everything from story arcing to cinematography, money-making strategies to social media tactics. The wider YouTube community will be able to learn along the way, too, by following the rise of the YouTube Creator Institute’s inaugural class on YouTube this summer.



The inaugural YouTube Creator Institute programs begin in the United States in May this year.

The University of Southern California School of Cinematic Arts is the country’s first film school and regarded as one of the leading schools in the world, with an alumni base of industry leaders and an array of notable accolades. The YouTube-USC Creator Institute takes place from May 25 until June 22 in Los Angeles, CA.

Columbia College Chicago’s Television Department has been innovating around new online media strategies for years, with students creating award-winning web-isodes while investigating new opportunities in the online space. The YouTube-Columbia College Chicago Creator Institute begins on May 31 and ends on July 22 in Chicago, IL.

Any U.S. citizen over 18 is welcome to apply, and candidates may apply online at www.youtube.com/creatorinstitute from now until March 25. Applications include two short answer questions and a maximum two-minute demonstration of the creator’s craft, whether it be a short film, a clip of a personal cooking show, or a snapshot of a nature expedition. Afterwards, the YouTube community will vote for two weeks between March 28 and April 8 for their favorite creators. The top voted candidates will move on to the final round, where our film and television school partners will choose the inaugural class for each of their programs, which will be announced on April 20. Learn more about the application and judging criteria.

Stay tuned for more YouTube Creator Institute and creator opportunities in the near future.

Bing Chen, YouTube Creator Initiatives and Product Marketing, recently watched, ““Rocketeer” cover, mastered by Kurt Hugo Schneider.”

The folks at the A.V. Club (the pop culture wing of The Onion) have a new series debuting on YouTube this week called “Inventory,” based on the popular lists by the same name at avclub.com. If you chug pop culture, but like it served up with a twist, “Inventory” will delight every nerve in your nerdy body.



1) What was the genesis of the Inventory program?
Inventory started as a weekly feature on avclub.com in 2005 -- we've done something like 300 of them now! We wanted to challenge ourselves to do a list-type feature in our own way, without being trite or boring like so many lists are. We never wanted to do anything like "10 sexiest movie scenes" or anything; we'd rather do "14 movies featuring tragic masturbation scenes." (Like the one in Fast Times at Ridgemont High. You know what I mean.) It quickly grew into our most popular feature; our readers love to comment on what we missed, and what they agree/disagree with.

2) How does YouTube help in your process, if at all?
We use YouTube all the time to embellish the text Inventory pieces. We'll very frequently reference movie scenes or particular songs, and it's great to be able to show and tell. Sometimes the Inventories are really long -- I've had people tell me that they spent hours just reading one and watching all of the accompanying YouTube clips. Probably while they're supposed to be working.

3) How can the YouTube community get involved in the show, making recommendations or other?
We're often inspired by commenters with new Inventory ideas, and we've always positioned Inventory as an incomplete list of whatever we're talking about. If we have 24 great films too painful to watch twice, for example, we'll learn of a dozen more that could've been on the list from our commenters. We like to think of the feature as the beginning of a conversation, not the end of it.

4) What's a little known fact about Inventory that you'd never know by watching it?
Maybe that we argue amongst ourselves about what should be included. Sometimes people read Inventory as a definitive list of things, not realizing that there are half a dozen people in a room, often vehemently disagreeing on whether something should be included.

5) What question would you ask yourselves if you were doing this interview?
Are you hungry? Can I get you a snack?

Josh Modell, General Manager, The A.V. Club, graciously answered these questions but points out that “pretty much everybody in The A.V. Club had a creative hand in these video segments.”

In December, we announced that “Life in a Day,” a documentary film directed by Oscar-winner Kevin Macdonald, produced by Ridley Scott, and filmed on July 24, 2010 by thousands of YouTube users around the world, was finished—and would have its world premiere at the 2011 Sundance Film Festival on January 27.

Today we’d like to share with you the first in a series of clips we’ll release between now and the world premiere. In this clip, beautifully shot by Toniu Xou and Patricia Marinez del Hoyoa of Spain, a young girl climbs a human castle in the small town of San Jaume dels Domenys in the Spanish province of Tarragona.



If watching this clip gets you excited for more, subscribe to the Life in a Day channel to be automatically updated when new clips are released.

And, most importantly, don’t forget to tune into the world premiere of “Life in a Day” at 5pm PT on Thursday, January 27, to see the 1,125 clips—out of more than 80,000 submitted—that made it into the final film.

Live in an incompatible time zone? Not to worry. The film will be re-broadcast at 7pm on Friday, January 28, in your local time zone, whatever that may be. The film will be closed captioned and subtitled on YouTube in 25 languages, and will provide an additional option for audio description (AD) in English. This will be your only chance to see “Life in a Day” before it is released later in 2011, so don’t miss out!

And for those of you who want to experience Sundance even more intimately, check out the Life in a Day channel daily from January 24 to January 27 to see on-the-ground updates from Kevin Macdonald and a group of contributors to the “Life in a Day” project whom Kevin has invited to join him for the world premiere. You can also submit questions on the channel during that time for a chance to take part in a live Q&A with Kevin and the 20 contributors following the world premiere.

Tim Partridge, Product Marketing Manager, recently watched Homeless Man with Golden Radio Voice."

In May 2010, Wong Fu Productions (Wesley Chan, Ted Fu, Philip Wang) and Ryan Higa started talking about doing a special project: a high-quality, long-form film that would be released just on YouTube for fans. Well, the moment is here: the film is now on YouTube, and Philip tells us more about it.



Written in a couple days, the 35-minute movie was shot in one intense week this past summer. Drawing from the talents of a few dedicated friends, the crew was no bigger than 10 and was usually just the three of us from Wong Fu Productions (WFP), plus the actors. There was no big budget, no big company, no big crews or equipment behind the shoot – just us, a DSLR camera, and the desire to do something major and to support each other.

In a time when "YouTubers" are still foreign to industry studios and decision makers, we didn't want to wait around for someone to give us the green light. We just went ahead and did it ourselves. Being Asian-American is not something most mainstream outlets believe is marketable. We struggle with this constantly. But with Ryan and Wong Fu's combined audiences, and a fresh approach to producing high-quality stories, we can show the world what we're capable of – not just as individuals in a new industry, but as a community, as well.

Philip Wang, Wong Fu Productions, recently watched "Agents of Secret Stuff."

Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.

After a little break last week, we’re back today to share a post I’ve been really excited about. When we first began planning this blog series I knew I wanted to interview an established filmmaker who could share their experience producing videos for the web versus other more traditional venues like television. Someone who has worked professionally across platforms definitely has some insight into what makes producing for the web unique and how it fits into a filmmaking career. This week, I’m happy to introduce Clayton Long, producer for the Bajillionaires Club, which has worked on television and web projects for companies like Cisco, Kodak, Travel Channel and made over 30 shorts for Howcast. Clayton grew up in Dallas and currently lives in Los Angeles.

1) Tell us what you do and you how you got started.
The Bajillionaires Club approaches each project differently. Some days I'm wearing the development hat; other days it's post-production, and others it's coordinating resources and communicating with clients. The guys I work with (Tom Campbell, John Erdman and Bryan Madole) are all brilliant creatives, so that makes my job easy. I surround myself with brilliant people and hope some of it rubs off.

We've been collaborating since grade school, making short videos for fun. In high school, we started making videos for our English classes. We modernized Hamlet and set it in a bowling alley. We made a redneck version of The Canterbury Tales. They were big hits and gave us the confidence to keep going. Everyone scattered for college -- I attended UCLA's Film, TV, and Digital Media Program -- then came back together.



2) When did you start making videos for the web and why?
Our first video was made when we were all living in an apartment together in Hollywood. One weekend we had a 35 MM camera package sitting around our apartment (which is, by the way, not a prerequisite for making a successful web video), so we decided to make a few commercials for Folgers coffee in the style of those old ads from the ’70s. They were very unique, and when we uploaded them on websites like YouTube, they attracted some attention. We built relationships with companies like Howcast, which led to other web-content related jobs. The rest is history. So yeah. Just for fun. But we definitely had an angle we were going for.

3) Are there things that work on the web that simply do not work in other venues?
Randomness works incredibly well on the web. Audiences are young, and they're interested in something new, different and weird. Spoof works really well on the web, though it can survive elsewhere. But why shell out the money to see Vampires Suck when you can laugh at that same one-note joke on the web done in two minutes?

4) Are there things that work for TV or film that don’t work for the web?
Sure. TV and film projects take more time to develop. They're much more polished, and a lot fewer of them get made. In short, there are a lot more rules. You must develop your characters with a certain timing, revealing bits and pieces as you go.

5) Describe your crew and equipment list for web video. How is it different from your crew and equipment selection for other projects?
Depending on the budget, we might use a 5D, 7D, T2i, or an HVX. Sometimes we just use a Flip or another low-cost HD consumer camera.

The budgets for web projects are smaller, so the equipment list is smaller and the crew is leaner. Crews can be anywhere from three people to 10, depending on the project. But we always light, and we often use dollies, cranes and other traditional means of making shots stand out, even if the camera we're using is the size of a cell phone.

6) What's your favorite web video?
Too hard to pick a favorite. “Muto,” “Cows & Cows & Cows” and “Independence Day” are great animated pieces. “Who Needs a Movie?” is still one of the best. I also recently saw a really weird video about horses by this band called L.A.Zerz. Can't find anything about these guys, but I dig their style.

Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Abandoned Six Flags New Orleans Tour.”

Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.

Last week, we made some arguments for why quality matters in web video, and we heard from Howcast filmmaker Luke Neumann, who said that it matters “because you never know who’s watching.” Duh! Watching Luke’s videos, you can tell he’s motivated by much more than that, but as we said last week, it’s a good starting point.

Luke’s been making Howcast videos for about a year now and he’s got more than 50 under his belt. From the beginning, he impressed us with videos like “How To Yodel,” where he showed he could build a story around a simple script, work in some cool camera angles, and make us laugh. Last week we featured one of his newest spots, “How To Survive a Zombie Attack.” If we thought Yodel was pretty darn good when it came in a year ago, you can imagine "Zombie Attack" knocked our socks clean off.

Luke clearly strives for the best every time he uploads. The web offers free access to audiences like no medium ever has. As filmmakers, we’re tasked with not squandering this access. Every upload should be better than the last to keep this audience coming back for more and to refine our skills for the day when perhaps we are handed that huge check to make something.

We asked Luke to let us in on how he does it. How did he make this gorgeous zombie video on a budget that would barely cover the average wedding video? How did he create that apocalyptic feeling, complete with fiery explosion? And, how did he make his zombies look like they’re decomposing before our very eyes?

Here’s Luke’s first “Behind the Scenes” video for Howcast. This is the first part of a new series where we’ll be letting you come behind the scenes to see how our filmmakers make the most creative how-to videos on a DIY budget. Step 1: Cover yourself in plain old dirt to look like you’ve been to hell and back. The Walking Dead producers could learn something from Luke!



Want to learn more about how Luke created Zombie Attack? Visit his blog where he posted in-depth tutorials, photos and a cool trailer.

Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Howcast: Vlogger Wanted!”

Footage of natural wonders can be awe-inspiring, but many of our planet's most striking environments are at risk. Our new Planet Inspired program, presented by The North Face, gives you the opportunity to celebrate the natural world and highlight environmental issues via your own short film or by remixing content shot by National Geographic's globe-trotting reporters.

The most original entries will be voted on by the YouTube community, and the winner will receive a National Geographic weekend photography workshop and $1,000 gift card from The North Face. Get started by checking out the Planet Inspired channel to create your remix about the natural world. Here are the details:



Tiffany Shelton, Program Producer, recently watched "The Camera and the Shark."

Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.

Since I started working in web video, the most common misconception I face is, web video equals low quality video. This week we asked “What do you think the differences are between making videos for the web versus other venues like film festivals or TV?” on YouTube's Facebook fan page. Though there were a lot of positive voices talking about the immediacy, democracy and audience engagement of web video, some of the comments unsurprisingly echoed this idea.

Quality, quality and um.... quality!

Quality, length, content, plot.

The web accepts anything.

Sure, one of the most exciting things about the web is that anyone can upload. Of course, that means that not all the videos we see are going to reflect even our most basic standards for quality video -- a steady camera, clean images, good lighting, clear sound. On the other hand, right alongside the cat videos (which I admit, I do get a kick out of), works of video art can happily coexist.

We've spent the first "section" of our “Modern 101 for Emerging Digital Filmmakers" providing an overview of web video -- talking to filmmakers about why they make web video, sharing websites every filmmaker should know, and offering tips on taking your first digital steps as a filmmaker. We're about to move into our production section where we'll interview filmmakers on the equipment they use, go behind the scenes to hear how they make their videos, and demystify uploading, codecs and metadata.

Before we enter this nuts and bolts section of the series, I wanted to tackle this last misconception regarding quality. Quality concerns are some of the most common reasons I hear filmmakers saying they aren’t interested in uploading their work, and there are a couple counterpoints I’d like to offer:

• Player, length and file sizes are increasing because viewers actually want to watch high resolution, great-looking video on their computers and even TV, as devices like Google TV come on the market.
• Filmmakers, like the Neistat Brothers who recently landed an HBO series, but also like our very own filmmakers who use their Howcast spots to woo clients, are getting jobs based on the videos they upload to the web. Make sure every spot you upload is one you’re proud to put your name on because web videos = calling cards.
• 60% of internet users watch videos online and that number is up 33% in 2.5 years. In other words, the audience is here and growing. And as more and more television viewers migrate to the web or simply plug their televisions into their computers, they will come to expect and want higher and higher quality video from the web.

Click around. Don’t just watch the videos that appear in your Facebook feed. Sure, I got that video with those poor fainting kittens emailed to me yesterday too, but I also spent 15 minutes watching this beautiful, quiet short, “Mei Ling,” which I discovered on the Futureshorts channel.

I asked Luke Neumann, a filmmaker who constantly impresses us with his stellar Howcast videos, why he puts so much effort into his web videos and he said, “Because you never know who could stumble across them." When you watch his videos, I think you can see he’s driven by much more than that -- for this spot alone he rented a crane and “moved” a building in After Effects:



Still, access to potential fans, funders and future employees is at least one simple, solid argument for filmmakers who are skeptical about quality work having a place on the web.

Next Friday, we’ll learn Neumann’s tricks for making great video like this on a budget while he walks us through how he shot “Zombie Attack.”

Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Mei Ling.”

Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.
Today being a filmmaker is more and more about using tools other than cameras and editing software – social media, mobile platforms, websites, and even augmented reality technology – to bolster the work, attract and engage audiences, and make money. Many filmmakers are being dragged into this new world kicking and screaming or simply overwhelmed by the options.

Enter Ingrid Kopp, Director, U.S. Office at Shooting People, and her Digital Bootcamp, which I got a chance to attend at DCTV in New York on Monday night. "The technology should serve you and your creative practices" -- that was one of the first things Ingrid said to the audience of about 20 filmmakers. She went on to explain that all these new technologies are like a painter's palette. If you choose all of them, you'll end up with gray. They are there for you to pick and choose what works for you and your film.

This is excellent advice but questions still remain: Which one should I use? How do I use it? And do I really have to? As filmmakers raised their hands to ask questions it became clear that tailoring a web, mobile or other technology campaign for a film is a very personal decision and should be informed by the project and the filmmaker's goals. Are they happy simply with people seeing their work? Do they need to recoup some investment? Are they trying to invoke social change? Ingrid talked about a new production title, coined by John Reese, Producer of Marketing and Distribution (PMD), which a filmmaker could hire to create and execute a digital campaign, taking all this into consideration. She compared this to hiring a cinematographer. You could opt to shoot yourself, but if you have the money, why not hire someone with experience and skill.

That said, you don't need to hire a PMD. You don't even need to build a website, post your trailer on Facebook, or send even one tweet. But, if you're ready to dive in, Ingrid offered up fantastic insights and tips, some of which I'm going to share right here:

• If you do one thing, create a home for your film online -- a website, a blog, a Facebook fan page, or a YouTube channel (of course) -- so that audiences know where to go to get information about you and your project. All your other online presences should link back to this main place.
• Collect email addresses and zip codes from your audience. Remember that Facebook and Twitter could shut down your profile any time. In order to retain contact with your audience, ask for their email addresses. And, while you're at it, their zip codes too. Want to plan a screening? You'll know where to start based on where your audiences live.
• Put your trailer online and allow people to embed the video. Embed and spread!
• Much of the really creative stuff happening on the web is being launched by brands. Filmmakers can learn a lot from their unique uses of new technologies. Here are two excellent examples Ingrid screened: The Last Exorcism Chatroulette campaign and the choose-your-own-adventure campaign on YouTube for Tipp-Ex.
• If you’re going to start a fundraising campaign on a site like Kickstarter, create ancillary content around the campaign to promote it and get people excited to pitch in. Be creative with your rewards to really entice donors. Embed a video on the campaign page too -- campaigns with videos earn more.
• Think about creating video clips other than your trailer that you can release strategically throughout the entire production process.
• Don't do anything halfway. If you start a Twitter account for your film and only send one tweet, your project will look "dusty" as Ingrid put it -- a perfect adjective.
• It's never too early to start building an audience with any kind of digital campaign. You can leverage your audience to solve problems with your film (anyone know a shooter in Dallas?), share their own footage, help with fundraising, write about your project, coordinate screenings, buy DVDs, and tell all their friends how great your film was.

In her brief but jam-packed session, Ingrid shared numerous sites, best practices, recommend reading, and noteworthy examples. Rather than link to them all here, here's a link to her Digital Bootcamp wiki where you can view the full presentation and check out tons of other resources. Ingrid called herself a bit of a "technological Utopian" and you can see that in her Creative Commons wiki where readers are also free to edit and share their own ideas.

I’m pretty sure I’m in that camp too, but I had to play devil's advocate and ask: “What do you say to filmmakers whose response to all this is, ‘I don't want to. I care about making films and not all this other superfluous, unrelated media?’ “ Ingrid simply said, “Then you don't have to. If this other stuff is distracting from your film or what’s in the frame then you shouldn’t be doing this. This should never compromise your film. My hope is that filmmakers will see these tools as another creative outlet. If we’re not embracing this technology, we, as filmmakers, could be left out of something amazing.”

I couldn't agree more. Thank you, Ingrid, for a great evening and all the information you share through your wiki, Twitter feed and Shooting People.

Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “The Rent Is Too Damn High Party's Jimmy McMillan at the NY Governor Debate.” Come back next Friday for another session of our “Modern 101 for Emerging Digital Filmmakers."