FV Sample Proposals

Minnesota and New York City
FILM AND VIDEO PROGRAMS
Helpful Program Information

Sample Proposal and Budgets
Revised 5/30/2013
TABLE OF CONTENTS:
Memo from Robert Byrd...1
J. Jerome Hill Biography ..2-3
Program Information .4-5
Frequently Asked Questions6-8
Sample Project Descriptions .9-39
Sample Budgets 40-50
How to Write a Proposal that Sells.51-54
Grant Writing Advice.55-59
Potential Funding Sources ..60-84

To: Minnesota and New York City Media Arts Applicants
From: Robert Byrd
Date: 0D\, 2013
Re: Sample Proposal Project Descriptions and Budgets
Thank you so much for your interest in the Jerome Foundations Media Arts Program.
In our continuing effort to make the application process as easy as possible for you,
we have put together samples of project descriptions that were considered well written
by past panels. They represent a variety of filmmaking genres, including documentary,
experimental, animation, and narrative. We hope that you will find them useful in
developing your own proposal project description.
Some applicants choose to describe their projects in one to three pages. Others
require greater length; however, the Jerome Foundation guidelines suggest no more
than three pages.
You will also find examples of budgets in this booklet. Please keep in mind that panels
pay particular attention to budgets, as they state a variety of things including: 1)
breadth of the project; 2) ability to complete the project; 3) ability of the filmmaker to
realistically determine costs and raise funds; 4) total funds required to complete the
project; and 5) impact of Jerome Foundation funds on the project.
Budgets should be clear and concise, with in-kind contributions clearly marked. The
expression in-kind refers to costs associated with the project that are free of charge.
That is, they are donated. Examples of in-kind portions of a budget may include free
services from actors, crew, or yourself (as the director). They may also include free
catering, camera equipment, travel, etc. Many filmmakers like to attach a monetary
figure to in-kind donations, so as to give an idea of the cost of their film if all
expenses were paid with cash (e.g. $2,000 per week for donated camera equipment).
Keep in mind that in-kind portions of budgets are not viewed as cash expenditures by
the Jerome Foundations Media Arts panel. This works to the applicants advantage,
particularly if in-kind portions of the budget take a project beyond the budget ceiling
required for consideration of a grant.
Please feel free to call the Jerome Foundation staff at 800.995.3766 (Greater
Minnesota or New York City), or 651.224.9431 (Twin Cities) or email
rbyrd@jeromefdn.org with any additional questions regarding the Media Arts Programs
and their requirements.
1
J. Jerome Hill (1905 1972)
In determining the philanthropic program of the Jerome Foundation, the Directors have
been guided by the artistic interests and humanistic concerns evidenced in the life of the
Foundation's founder.
Jerome Hill, the grandson of railroad builder James Jerome Hill and the son of Louis W.
Hill, Sr., was born and grew up in St. Paul, Minnesota. Manifesting an early interest in
painting and drawing, Hill attended St. Paul Academy where, as a student, he decorated
the walls of the chemistry laboratory with a series of historical murals which survive to
this day. At Yale, where he majored in music, he created costumes and sets for the
Dramat and drew for the Record. He studied painting at the British Academy in Rome
and at the Academie Scandinav in Paris. His paintings and drawings have been widely
exhibited and are included in several private and public collections.
During the 1930s in Cassis, where he went every summer to paint, Hill developed his
interest in filmmaking. Using one of the first Cine-Kodak-Specials, he created a series of
films experimenting with the language of cinema. After returning to the United States in
1939, he made two film shorts released by Warner Brothers.
2
Jerome Hill was also interested in still photography. Influenced by what he had learned
as a student of Edward Weston, he undertook a photographic essay of a tour of Greece.
This collection of stills was published in 1937 under the title Trip To Greece.
After World War II, during which he served in Army film units and as a liaison officer with
French forces, Jerome Hill returned to film biographies. With Erika Anderson as
cinematographer, he produced and directed a film short, Grandma Moses which was
nominated for an Academy Award, and a feature length documentary, Albert
Schweitzer, that received an Oscar in 1957. Dissatisfied with the narrow confines of
documentaries, Hill made his first "story" film, The Sandcastle in 1959-60. Inspired by
the ideas of C. G. Jung, it was a feature length, low-budget, comedy-fantasy in black
and white with a dream sequence in color that introduced a novel form of stop
animation.
Subsequent films included the full-length Open The Door also related to Jung's
thoughts; Schweitzer and Bach, and hand-painted animation shorts: Anticorrida, Merry
Christmas, The Artist's Friends and The Canaries. His full-length autobiographical film,
Film Portrait, was selected as an outstanding Film of the Year for presentation at the
1972 London Film Festival and won the Gold Dukat Prize at the 21st Annual Film
Festival in Mannheim.
In the late 1960s, Hill began to compose all of the scores for his films. Throughout his
life an avid student and creator of music, his interest in later years was in composition of
works for the harpsichord and small orchestra.
Jerome Hill's support of artistic and humanistic endeavors is known on both continents.
Through the years he gave financial assistance which enabled numerous artists and
humanists to continue their work. In 1964, he set aside funds to establish the Avon
Foundation, which since 1973 has been known as the Jerome Foundation.
The Museum of Modern Art houses the Jerome Hill Film Collection. You may view the
films online at: http://www.jeromefdn.org/founder/films-jerome-hill
Jerome Hill Papers
The extensive collection of Jerome Hill Papers is housed at the Minnesota Historical
Society, 345 Kellogg Boulevard West, Saint Paul, Minnesota 55101-1906.
The papers may be accessed online at http://collections.mnhs.org/Jerome Hill or

through the Society's website at www.mnhs.org.
3
Minnesota and New York City Film and Video Program Information
The Film and Video programs award production grants to emerging artists, whose work
shows promise of excellence, in the genres of experimental, narrative, animation, and
documentary production.
Policies and Priorities
Applicants must be residents of Minnesota or the five boroughs of New York City.
For establishing residency, street addresses are preferred; however, Post Office
boxes are acceptable, but only when proof of residency is also provided (such as
a valid driver's license, or photocopies of utility bills mailed to the applicant).
The Foundation supports artists whose work shows promise of excellence.
These artists will most often be in the early stages of their careers and will not
have had the support needed to achieve major recognition for their work.
However, it is important to note that this program is not designed for students or
people with little to no background as principal creators of film and video. Factors
used to assess whether or not an applicant is emerging include production
record/history, exhibition record, awards, grants, peer recognition, career stage,
and critical response to the work.
Only applicants who have total creative control of their projects qualify for
support. This person is usually identified as the Director. The Foundation
understands that this person may also wear "other" hats, such as Producer,
Writer, Editor, etc. Producers, editors, crew people and writers (who are not in
creative control of the project) are not eligible to apply.
These programs do not support installation, new media, or interactive work,
which are subsidized in other Foundation programs.
These programs do not support commercial, industrial, informational, or
educational work.
Budgets of any size are allowed. All budgets will be given the same
consideration. Applicants with small budgets are welcome and encouraged to
apply. The level of support offered by Jerome Foundation ordinarily ranges
between $10,000 and $30,000. Budgets should have a fundraising plan in place.
Subject matter of the proposed project is secondary to evidence of emerging
talent except in cases where the subject clearly requires special expertise. The
applicant must show evidence of having the capability to handle the subject
matter. In instances where the artist wishes to move from one genre of
production to another, it would be wise to explain why such a move is being
made.
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The Foundation places emphasis on funding projects in their early stages.
Requests for productions that are more than half completed are eligible but
represent a lower priority. Supplementary grants will not be considered for
projects previously funded by the Foundation.
Artists provided with support through this program must draw their grant funds
within 18 months of notification of the grant. Production must also begin within 18
months after receipt of a grant. Exceptions to this policy, such as personal
emergencies, must be approved by Foundation staff.
Artists apply as individuals, or as two-person teams with equal responsibility as
co-directors, to the Foundation. This program does not accept fiscal sponsors.
Nearly all of the Foundations funding in Film and Video supports individual
artists in the form of production grants. Exhibition and distribution are not
supported.
Students in K-12 educational programs are not eligible for Jerome Foundation
support. In general, individuals enrolled in undergraduate and graduate degree
programs are not eligible, with one exception. If an artist enrolls in an
undergraduate or graduate degree program on a part-time basis or takes classes
while maintaining a current and active professional practice of creating and
presenting work to the public, she/he is eligible.
If you receive a grant, the Jerome Foundation's annual tax return, which is a
public document and is posted on the Foundation's website, will contain your
name and address, in its listing of grants made during the year. For more
information on public access to the tax returns of foundations, please contact
Foundation staff.
Applicants to the Minnesota Film and Video Program may apply online. The
Foundation will launch the New York City online application some time during the
summer of 2013. Please refer to the Foundations website for updated
information on the New York City online application.
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Frequently Asked Questions
May I receive support more than once for the same project?
No, the program will only provide one grant per project.
Do I need a fundraising plan if I'm requesting my entire budget of $30,000 or less

from Jerome?
No, you do not need a fundraising plan in this instance.
How long do I have to complete my project?

There is no deadline to completing your project, but you are required to start it no
more than 18 months after receiving a grant. We expect you to make steady
progress. We require yearly updates to the Foundation on your progress.
Is it okay to apply with a co-applicant?

Yes. However, both must share the responsibility of directing the project. If
he/she has some other responsibility that exclusively involves producing, writing,
crewing, or acting in the work, the Foundation will not recognize him/her as a co-
applicant. All applicants must be emerging artists residing in MN or NYC.
Do these programs fund actors, producers, writers or crew people?

No. The focus is strictly on directors.
Do these programs fund organizational, commercial, or industrial work?

No. The programs only support independent work directed by the applicant.
Do these programs fund pre-production, distribution, marketing, tape to film

transfers, mass duplications, entry fees for festivals, etc.?
No. This is a production grant and, to a lesser degree, a post-production grant.
Do these programs fund retroactively?

No. Eligible projects must be in production or post-production at the time a grant
is provided.
Would you be willing to write a letter of recommendation for me if my project

receives a grant?
Yes, but please give us plenty of advance notice.
Will these programs fund projects containing controversial subject matter?

The panels have shown a great willingness to take on controversial subject
matter and recommend grants to the Foundation's Board.
Do these programs fund artists from other countries?

Yes, as long as you are a current legal resident of the United States and live in
one of the five boroughs of New York City or the state of Minnesota. You can be
newly arrived to the city/state and qualify for these programs.
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Will you consider projects from applicants living in other parts of the United
States?
No, these programs are only open to residents of the five boroughs of New York
City or the state of Minnesota. Grantees who are discovered to not be New York
City or Minnesota residents upon receipt of a grant will be denied support.
However, the Foundation is totally amenable to people moving away from the
city/state before their projects are complete. In this case, please remember to let
us know where you are. You must continue to submit annual progress reports.
Will I get my work samples back?

MN applicants will have work samples returned via the U.S. Postal Service if you
include a self-addressed, stamped envelope (SASE) with your application. NYC
applicants are asked to pick up work samples from Anthology Film Archives (32
Second Avenue New York, NY 10003) within two weeks following the panel.
Do these programs fund any size budget?

Yes, any budget, large or small, qualifies for the programs. Applicants with
budgets exceeding $30,000 must submit a fundraising strategy for their projects.
How many grants do these programs provide?

It depends on the panel and the number of projects it wants to support. Another
consideration is the total amount of money available. Generally, six to nine grants
are provided each year to the MN program and to the NYC program.
What criteria are used to determine support?

The merit of the proposed work and the quality of work samples carry the most
weight in the panels' deliberations. The production background and eligibility of
the applicant as an emerging artist are also major considerations.
How many film and video artists apply to the program?

In 2012, 71 individuals applied to the MN program and 77 applied to the NYC
program.
Do you have a preference for a certain genre of work or subject matter?

No. The Foundation is committed to supporting a variety of genres and subjects.
Does having secured funding from other sources of support have an impact on
the panel's decision to recommend funding?
The panel is interested in knowing if you have received support from other
funding sources; however, decisions are not solely contingent on having secured
additional funding.
Is more than one project allowed per applicant?

No. Only one application per person is allowed. Filmakers who have already
been provided with a Jerome grant may not receive support for a new project
until the previously funded project is complete.
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May I reapply with the same project if I do not receive a grant the first time
around?
Absolutely.

Are materials not mentioned in your application form accepted with the
application?
No, the Foundation does not accept materials not mentioned in its application
form.

May I email or fax my application materials to the foundation?
No, your application materials must be submitted online or paper via mail or
direct delivery to the Foundation office.

May I substitute the project for which i received a grant with a different project?

No, substitutions are not permitted. Doing so without the Foundation's permission

constitutes a violation of the legal contract between the Foundation and grantee.

Such an action will result in the Foundation recalling the grant.

May I change or add work samples after submitting my application?
Yes, you may. However, the total running time of samples cannot exceed 20
minutes.

May I call you if I have additional questions?
Yes, please call 651.224.9431 from the Twin Cities area and 1.800.995.3766
from Greater Minnesota and New York City. Ask to speak with Robert Byrd or
Jeremy Meckler.

Why don't you have application deadlines in the New York City program?
We wait until we accumulate fifty, or so, proposals before convening a panel.
Panel reviews are held three times per year.

What should I do if I will be out of town when the New York City work samples are
requested for drop-off for panel review?
Three to four weeks prior to the panel meeting dates, you will receive a letter and
an e-mail specifying the work sample drop-off dates, times and location. If you
will be out of the state or country, please contact the Foundation office as soon
as possible to make special arrangements. We usually suggest that you leave
your samples with a colleague or friend in New York City who will be able to drop
them off for you.
May I apply online?
Yes, in fact online applications are preferred for the Minnesota Program. Here is
the link to the online application: http://www.jeromefdn.org/apply/start. The New
York City Online Application will be available some time in the summer of 2013.
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How to Write a Proposal that Sells
Morgan Paar is the co-founder and a producer, cinematographer and editor for Nomadic
Frames, a company specializing in international video production, travel video, and travel still
photography. Paar is also a film professor in New York City.
The good news for video producers theres lots of money out there to fund your
production. The bad news to get it, you have to work hard and follow the rules
exactly as requested.
The Prologue
I dont mean to rain on this parade before the first baton is twirled into the air, but you need to
know that getting free money is a whole lot of work. As my grant writing independent study
teacher informed me when I started my graduate thesis film, It might be easier and quicker for
you to meet your budget by flipping burgers at minimum wage than to get involved in raising
money through grants.
Show Me the Money

That said, lets assume youre ready to commit the blood, sweat and tears and long hours to
fund your film with a well-formulated proposal. Your first step rests with the very question any
filmmaker needs to answer about any project: Who is your audience? Not, in this case, the
audience for your finished film but the audience who will read your proposal. Who are these
people and why will they reach deep within their pockets to give you their hard earned, cold
cash? Will they be family and friends, government, private foundations, corporations or nonprofit
organizations? You could approach more than one of these sources for funding but the proposal
you craft will most likely have to be uniquely re-tooled for each. For the purposes of this article,
we will be more general in outlining a master plan but remember, you may need to alter your
masterwork for each type of funder.
Once you have targeted your audience, you need to determine what it is they require of you.
Think of it this way: What is in it for them? If you are planning aKickstarter.com campaign, your
mother may donate because she wants you to succeed or, earn enough money to move out
of the house. Craft that campaign according to that audience and what they want to see and
hear. If you are a member of the Iroquois Nation and you are writing a proposal for a grant from
the Indigenous Film Fellowship, it is likely that they will fund you because they want to see one
of their own excel or tell the Iroquois history or culture to a wide audience. Craft accordingly. The
National Endowment For the Arts has a whole other mission and their guidelines and
motivations will be completely different. Know the foundation or funders mission. Will your
message progress their efforts or be opposite of what they believe in.
Color Within the Guidelines

Once you know who is most likely to fund your project and/or fund you, research what it is they
want. Locating funding guidelines has never been easier thanks to the Internet. In most cases
its as easy as downloading a PDF of their guidelines, application and other supporting material
with a few clicks of the mouse. Follow guidelines and application instructions closely. There is
such thing as being too creative and more is not necessarily better. Give them what they want.
Be as simple and direct as possible.
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Morrie Warshawski states, in what I consider to be the bible of raising money for film
projects, Shaking the Money Tree (3rd Edition), strike a balance between mind and heart,
reason and passion. Individuals may be impressed with an outpouring of emotion but this
strategy in a proposal for a foundation may find your project eighty-sixed.
Many proposals are submitted online these days. If you are required to mail in a dead-tree
version, keep it simple and professional. No fancy fonts in orange ink on blue paper. Use 12-
point typeface utilizing a Times Roman, Garamond or Helvetica font with black ink on 8 -inch x
11-inch white paper. This will get your story across in a professional manner. Leave the
creativity to your treatment (more on this soon).
The Bones
To borrow once again from Warshawskis Shaking the Money Tree, the table of contents for
your proposal would be strong if it included all of these elements:
1. Cover Letter
2. Title Page
3. Table of Contents
4. Formal Request
5. Description of the Project
6. Statement Proving Need
7. Description of Intended Audience
8. Why I Became Involved with this Project
9. Treatment
10. Production Plans and Timeline
11. Personnel
12. Distribution Plans
13. Community Outreach
14. Evaluation Plan
15. Funding Strategy for Completion of Project
16. Budgets
17. Miscellaneous Support Materials
a. Fiscal Sponsor Letter
b. Letters of Support
c. Letters of Commitment
d. Press Clippings
e. Full Resumes of Personnel [please put accent marks on resume]
f. Demo Reel/Trailer
Warshawski breaks each of these headings down into detail in his book. The mere $16 price tag
might just be one of your best fundraising investments. As they say, You need to spend money
to make money.
Filmmaker as Painter
Of the twenty plus above items, the treatment is one of the most important. This one element
can make or break your request. This is not a place for explanation. This is where you paint your
story in exquisite colors, sounds, dialog, etc. You want the reader to experience the project, not
be told about it. The sights and sounds should be projected on the mind of the reader.
The treatment should be two pages or less so you have your work cut out for you. As the French
mathematician and philosopher Blaise Pascal said, If I had more time, I would have written a
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shorter letter. Take the time to get this right. Have a couple of smart friends proofread it and
take the time you need to perfect the treatment.
Sample
Your sample work usually in the form of a demo reel or work in progress should not only
show your best product but it should also show subject mater relevant to the funder. More and
more funders are expecting to see your demo reel online, snail mailed DVDs are the exception
these days.
Instead of having your demo reel or sample live in the vast video sea known as YouTube (or
better even, Vimeo), design a website for the video to live. It doesnt have to be complicated;
again, simpler is better. A single page with your video in the center, a picture of you and your
contact information will do. My personal website is an example of what I mean:
www.morganpaar.com
There are many tools to help the HTML illiterate amongst us to build a simple website. And you
dont necessarily need a degree in design, though it wouldnt hurt. Blogger and WordPress are
very popular tools to help you build an online presence. They are a bit more like a blog but the
line between blogs and websites are blurring. Other programs such as Webs, Homestead,
Google Sites and Yola are popular. I strongly suggest you keep it professional and spend the
money to avoid advertisements on your site. Another bit of well-spent money is to acquire a
unique URL name, usually your own name or the name of your production company.
If you do know design and HTML, or have a friend who does and owes you a favor, head right to
the big guns with programs such as Adobe Dreamweaver or Microsoft Expression Studio 4 Web
Professional.
Budgetary Note
Be realistic with your budget. If you are going to make a feature length period piece for $2,000,
your funder is likely to notice that you dont know what youre doing. Does your budget include
distribution and/or film festival costs? If not, how is your message going to get out to the masses.
Funders are not interested in finished films that live in a filmmakers closet. Michael Wiese and
Deke Simons Film & Video Budgets (2nd Edition) is the bible of line items and total tallies, a
must for any producer.
The Martini Shot

All the work is finally done and its time to deliver. Dont wait until the day before the proposal is
due to overnight FedEx it five minutes before FedEx closes. Get it in well before the deadline.
The final effort comes two weeks after shipping. If you have not heard from the organization, call
the program officer and politely inquire if they have received the proposal and supporting
material.
The Waiting is the Hardest Part

Dont expect to be approved and opening a fat check within days. Three to six months seems to
be the norm in order to see a positive return, if you beat out all the competition and win the grant.
Most organizations that give money are like large ocean-going ships, they take time to turn.
Your proposal may need to pass many sets of eyes and even multiple meetings before getting
the required number of thumbs-up for approval.
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Desired Feedback
And finally, you should be accepting of feedback, anywhere in the workflow of the grant writing
process. In fact, I recommend you ask for it, whether you are accepted or rejected. After you
have received your approval or denial, ask what the funders liked about your proposal and what
they didnt. This will enhance your second, third and 100th proposal efforts.
The Parade Must Go On

When you enjoy a parade in a small town or large city, you rarely think of all the planning,
organizing and execution that went into producing that seemingly simple two-hour event. Many
people spent many laborious hours in order for that parade to go on without a hitch. Producing a
proposal to raise money is similar. The funder wants to know you are serious, you know what
you are doing, youre not afraid of the hard work and finally, that they will look the better or will
have bettered society with their funding of your project. Proposal writing is not an easy road but
it can be very fulfilling; and it could finance your dream.
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Grant Writing Advice
A good proposal is clear, brief, and free of too much hip jargon. It should explain:
1. The needs, issues, and objectives involved

2. How your approach will address them
3. Why the overall theme is important
Effective proposals have been those that contain clear and brief writing that
expresses your ideas (often in less than 3 pages) and highlight key objectives and
goals.
Here are some things to keep in mind when preparing a proposal:
Grantors want compelling films.

The first two paragraphs must be dynamite, knock me off my seat!
Be impeccable with the truth.
Do not commit to things you cannot do. Sponsors can tell when you are
overstating.
Sponsors know if your budget is unreasonable.
A guaranteed audience, such as a commitment from PBS, puts you on top.
Have you secured another grant?
Bringing a scholar or expert on board as an advisor will shift the scales to your
advantage.
When applicable, show how your film relates to the goals of your potential funder,
sponsor, or distributor.
If there are projects in the market place with a similar message or subject matter
to yours, make sure you demonstrate how yours is unique.
Music and picture rights must go into the budget; they are expensive and donors
look for this.
Put your name and the name of your film on submitted tapes and on the outside
of the DVD case. When donors are reviewing scores of tapes they often get
interrupted and its easy to confuse DVDs.
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Financing Your Film:
Grants and Foundations

These are forms of funding that filmmakers usually dont have to pay back. Thats
right, money to make your film that in most cases doesnt have to be paid back.
There is one undeniable truth that makes this not the best form of financing for
certain filmmakers, and that is that these monies are usually not available to
traditional narrative filmmakers. Those of you making documentaries, experimental
films, regional films, or educational films have a better chance with this financing
track. However dont lose faith, if your film touches on subject that has a cause
behind it, then you are not disqualified. Below is a list of grants, funds, and
scholarships. This method of financing is highly recommended for independent
filmmakers who have something to say about something worthy.
Self Financing
Seriously do your best and DO NOT SPEND YOUR OWN MONEY TO MAKE YOUR FILM.
Is this film worth going bankrupt over? There are stories (Kevin Smith) where a
filmmaker maxed out his credit, made a movie, had nothing, got into Sundance, got
a studio picture deal, eventually paid off his credit cards and then some, and he
lived happily ever after. COME ON. That doesnt happen as much as wed all like to
think. Be smart with your money. Remember credit cards usually have high interest
rates and whatever you borrow you have to pay back, so be careful if this is a
method you choose. Even if you are sure that your film is the best and well be very
marketable and make lots of money, consider what would happen if it isnt and
didnt . You already have a personal and emotional investment in this film, dont
make it worse by adding an element of your own financial survival to it. You could
be paying off this film for the rest of your life.
Investors
Brainstorm if you know anyone that is money-comfortable enough to be a producer
of your film. Consider asking everyone in your family for $50 to invest in your future.
Hell, if they have more, get $100 per person or $1000. Your dentist that youve had
since you were 4 years old has money, see if he or she wants to become a producer.
Make sure you are clear with people if their money is a donation (not to be paid
back), a loan (to be paid back in full) or an investment (paid depending on how much
the film makes). Mike Akel, director of local independent favorite Chalk, financed his
feature by letting friends buy shares of the film at $1000 a share. Its hard but
asking for money is part of the business. Make sure you let everyone know that you
will put their name in the credits for helping you.
Event Financing, Donations, and Alternative Fund Raising

Consider alternative forms of funding. Throw a party and charge at the door of per
plate. If your friends dont have money, figure out what they do have that they are
willing to donate in kind. A nice house for location? Building supplies? Food? Make
sure you hit up local businesses and see if they want to donate supplies and food
too. People want to give you stuff! Movies are cool and people will do what they can
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to be involved just for the bragging rights and credit. Do you have anything that you
dont really need that you could sell? Kevin Smith sold his comic book collection to
help finance indie classic Clerks. Maybe you and your friends can have a garage sale.
Think outside the box.
Financial Loans
Though not recommended, lender financing is one way for a filmmaker to secure
funding for a picture without going through the studio system. Though lender
financing is time-consuming and complicated, it is a great resource for independent
producers. Lender financing is the process of obtaining a loan from a lending agency
to finance the development, production, and/or distribution of your film. When you
are looking for a loan, you must first find out what your state usury laws are.
Basically, usury is an excessive and illegal rate of interest on your loan.
Unfortunately, the usury laws do not apply to studio loans. In other words, you
might have to repay your loan with excessive interest.
Crowdsource Funding
Using crowdsourced funding platforms like Kickstarter, Indiegogo, or United States
Artists is a terrific way to find funding for your project. Many artists, even
established ones, use crowdfunding as a way to produce their films. While the
individual donations are usually small, they add up. Many projects have been funded
primarily or exclusively through crowdfunding efforts, but it often works better
when combined with other sources. A successful crowdfunding campaign also shows
foundations and other funders that a project has an existing fan base willing to
donate toward its completion.
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The Art of Film Funding: Foundations and Grants
by Carole Lee Dean
A foundation is a nonprofit organization that donates (or grants) money, equipment

or other supplier to organizations and individuals. Foundations are also called
charitable trusts, endowments and public charities.
Private foundations are usually funded from one source, typically an individual, a
family, or a corporation. Public foundations are built from multiple sources,
including grants from private foundations, government agencies and donations from
private individuals. Foundations have a responsibility to uphold the principles of the
foundation and make sure their funders donations are being used for the intended
purpose.
If youve searched for funding in the past you already know that many foundations
will not grant money to individuals. Will these foundations make an exception?
Sometimes, but its rare. Donating funds to individuals is more complicated because
the IRS requires nonprofits to obtain advanced approval before distributing funds to
individuals.
So, whats a starving artist to do? One option is to find fiscal sponsorship.
FISCAL SPONSORSHIP
Fiscal Sponsors receive and administer funds and provide various levels of
organizational support to individuals.
Another important step in the Art of Film Funding is to investigate the possibility of
using a fiscal agent for your project. Fiscal sponsorship can give you access to
funding opportunities and other resources available to 501 (c ) (3) nonprofit
organizations. Private individuals will also be more likely to donate their hard-earned
money if you have fiscal sponsorship because they can use the donation as a tax
write-off.
A fiscal sponsorship is a relationship and like all relationships it is important to find

a good match. Each fiscal sponsor has different guidelines and goals. Some fiscal
agents charge a fee or commission; others are simply altruistic spirits who are
dedicated to your cause. Just make sure you and your fiscal sponsor have a clear
agreement regarding the management and disbursement of funds, what fees, if any,
the fiscal agent will charge and who will retain legal identity and control over your
project.
Read their website and hen talk to them with any unanswered questions. Dont be
afraid to ask how long it takes from the time you give them a donation until you get
your check back in the mail. Schools, arts organizations, or other legal community
groups often sponsor individual filmmakers.
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FINDING THE GRANTOR TO MATCH YOUR FILM
The money to make your film is out there. Foundations have money and resources
already set aside to give away to the right individual or organization. Your job is to
make sure your project matches their criteria and guidelines.
When you find a funder that looks promising, dig in, and explore their website from
top to bottom. Learn everything you can about this funding source. When was the
foundation established? Who established it and why? Find out who funds the
foundation. As you research, jot down questions that come to mind.
If youve gotten this far and the foundation still feels like a good match, dig a little
deeper. What causes have they funded in the past? Youre probably not going to
want to pitch your documentary about endangered marmots of San Juan Wilderness
to an organization that is an ardent supporter of the Independent Taxidermists of
America. Knowing what type of organizations or individuals a particular funding
source has embraced in the past will give you additional insights into the types of
projects they fund.
IRS 501 (c ) (3) defines nonprofit, charitable, tax-exempt organizations. IRS form 990
is used by tax-exempt organizations, nonexempt charitable trusts, and political
organizations to provide the IRS with information required by section 6033. Why
should you care? Because you can find out a lot about an organization by accessing
their tax forms.
I know, it sounds positively sneaky, doesnt it? Dont worry, Im not asking you to
put on a cat suit and slip into their business office at night with a flashlight. These
records are available to the public. If youre into snooping (and what great filmmaker
isnt?) then youll want to stay awake for this next part.
Form 990 discloses all kinds of juicy tidbits about an organizations finances, board
members, and you guessed it, their philanthropic activities. Accessing this one form
will tell you what kind of programs the organization supports and the names of all
grant recipients for that fiscal year. It will also give you the name, address, and
phone number of the operations officer (the person in charge of the grant you are
applying for), and whether or not they accept unsolicited proposals.
You can access information on over 100,000 US private and community foundations
for free through the Foundation Centers Foundation Finder, locate
at www.fdncenter.org. If you dont have the name of the foundation, GrantSmart
(www.grantsmart.org) offers a database of US grant makers and foundations you can
search using keywords.
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Potential Funding Sources
AlterCine Foundation
Documentary Film Grants
http://www.altercine.org/html/en/programme-de-bourses.php
10,000 Canadian dollars to a video or filmmaker to assist in the production of a

documentary project. The grant is aimed at young video and filmmakers born and
living in Africa, Asia or Latin America who want to direct a film in the language of
their choice that respects the aims of the Foundation.
American Experience
Submissions
http://www.pbs.org/wgbh/americanexperience/about/faq/
American Experience looks for good dramatic stories out of the American past,
stories about people both ordinary and extraordinary, about events that helped
define who we are as Americans and why we are the way we are. They accept
completed films and works-in-progress (including films in production, films at rough
cut and films with substantial funding in-hand.) They are not currently accepting
proposals for film ideas.
American Masters
Proposals
http://www.pbs.org/wnet/americanmasters
American Masters, Thirteen/WNET's award-winning biography series, celebrates our

nation's arts and culture. Launched in 1986 and still acclaimed as "the best
biographical series ever to appear on television," American Masters has produced an
exceptional library exploring the lives and illuminating the creative journeys of our
most enduring writers, musicians, visual and performing artists, dramatists and
filmmakers. In content and in style, these are uniquely crafted programs, reflecting
the particular attention deserved by subjects, resonating the extraordinary mosaic of
creative heritage and traditions. American Masters produces most of its
programming in-house and is able to accept very few proposals. Proposals can be
submitted, in writing only, to Executive Producer Susan Lacy.
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Anartcic Artist and Writers Program

Antarctic Artists and Writers Program
http://www.nsf.gov/funding/pgm_summ.jsp?pims_id=503518
The Antarctic Artists and Writers Program furnishes U.S. Antarctic Program
operational support, and round-trip economy air tickets between the United States
and the Southern Hemisphere, to artists and writers whose work requires them to be
in the Antarctic to complete their proposed project. U.S. Antarctic Program
infrastructure consists of three year-round stations and numerous austral-summer
research camps in Antarctica, research ships in the Southern Ocean, and surface and
air transportation. These assets support the artist and writer projects. The main
purpose of the U.S. Antarctic Program is scientific research and education.
Arthur Vining Davis Foundation

Public Television Grants
http://www.avdf.org/FoundationsPrograms/PublicTelevision.aspx
Grants primarily provide partial support for major series with lasting educational
value that are assured of national airing by PBS. Consideration is given on occasion
to single stand-alone programs of exceptional merit. Recent "capstone" production
grants have ranged from $100,000 to $400,000.
Asian Cinema Fund

Asian Network of Documentary Fund
http://acf.biff.kr/Template/Builder/00000001/page.asp?page_num=1891
The Asian Network of Documentary (AND) Fund is a loose coalition of film festival
organizers committed to supporting the production and distribution of Asian
documentaries. There are funds for specifically Korean films, as well as Asian
documentaries in general.
Berlinale
The World Cinema Fund
http://www.berlinale.de/en/branche/world_cinema_fund/wcf_profil/index.html
Provides Production funding of 100,000 EUR per project, and Distribution funding of
15,000 EUR (only German distributors may apply)
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Bertha BRITDOC
Connect Fund
http://britdoc.org/real_funds/bertha-britdoc-connect-fund
The Bertha BRITDOC Connect Fund is the first European-based outreach and
engagement fund, and is open to filmmakers from around the world. The fund is
looking to support smart, strategic outreach campaigns for ambitious independent
documentary films with a social issue at their core; films which have the ability to
achieve real change on a local, regional or global level. Social impact can be
achieved in a myriad of ways and we are looking for outreach plans that engage
audiences, have identifiable goals and partners to help achieve them. Grants will be
in the range of 5,000 - 50,000.
Bertha BRITDOC
Documentary Journalism Fund
http://britdoc.org/real_funds/bertha-britdoc-documentary-journalism-fund
The new Bertha BRITDOC Fund for Journalism is an international film fund dedicated
to supporting long form feature documentaries of a journalistic nature. Grants from
5,000 to 50,000 are available.
Black Public Media

Submissions
http://blackpublicmedia.org/for-producers/
NBPC has a legacy of proudly supporting producers and digital media storytellers
who represent the global Black experience. It's a goal to provide funding and
distribution within NBPC's affiliated public media networks including representation
on their dedicated online/web series channel BlackPublicMedia.org.
BRITDOC
PUMA.Creative Catalyst Award
http://britdoc.org/real_funds/puma-creative-catalyst-award
PUMA Catalyst Awards are an international documentary fund offering independent

filmmakers catalytic support at crucial junctures in their documentary film. BRITDOC
welcomes one-off, creative documentary ideas of any length and subject, in any style
and form, but are particularly keen on ideas that speak to PUMA's core values
around issues of Humanity and Creativity, Ecology and Sustainability and Labour
issues and Workplace ethics.
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Cal Humanities
California Documentary Project Grant
http://www.calhum.org/grants/california-documentary-project-grant
The California Documentary Project (CDP) is a competitive grants program that

supports documentary film, radio, and new media productions that enhance our
understanding of California and its cultures, peoples, and histories. Production
grants are designed to strengthen the humanities content and approach of
documentary media productions and help propel projects toward completion.
Projects must be in the production stage, have a work-in-progress, and actively
involve at least two humanities advisors in the production process. Grant awards
range up to $20,000 for new media projects.
Catapult Film Fund

Catapult Film Fund
http://catapultfilmfund.org/
Catapult Film Fund provides development funding to documentary filmmakers who

have a compelling story to tell, have secured access to their story and are ready to
shoot and edit a piece for production fundraising purposes. Catapult Film Fund's
mission is to enable filmmakers to develop their film projects to the next level at a
moment where funding is hard to find. They support powerful stories, and moving
storytelling, across a broad spectrum of issues and perspectives.
CEC ArtsLink
ArtsLink Projects
http://www.cecartslink.org/grants/usa.html
ArtsLink supports exchange between artists and arts organizations in the United
States and eligible countries. Since 1993, ArtsLink has disbursed over $1.6 million in
awards to 323 US arts professionals undertaking projects abroad.
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Chicken & Egg

Call for Submissions
http://www.chickeneggpics.org/
Chicken & Egg Pictures is a film fund and non-profit production company dedicated
to supporting women filmmakers who are as passionate about the craft of
storytelling as they are about the social justice, environmental and human rights
issues they're embracing, translating and exploring on film. They match strategically
timed financial support with rigorous, respectful and dynamic mentorship, creative
collaboration and community-building to nurture women filmmakers whose diverse
voices represent a range of lived experience and realities that have the power to
change the world as we know it.
Cinereach Grants
Reach Film Fellowship
http://www.pbs.org/pov/filmmakers/www.cinereach.org/grants
Cinereach supports feature-length nonfiction and fiction films that are at the
intersection of engaging storytelling, visual artistry, and vital subject matter. Grant
amounts can range from $5,000 - $50,000 per project and can be awarded to
support any stage of production, including development, production and post-
production.
Creative Capital
Grants
http://www.creative-capital.org/
Creative Capital provides each funded project with up to $50,000 in direct funding
and career development services valued at $40,000, for a total commitment of up to
$90,000 per project
Film Independent
Spirit Award Grants
http://www.filmindependent.org/labs-and-programs/grants-and-awards/spirit-awards-grants/
Every year at the Spirit Awards, Film Independent gives out three Filmmaker Grants
selected by nomination only and voted on by committees. The recipients of these
awards become Film Independent Fellows and receive unrestricted cash grants of
$25,000.
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Film Independent
Sloan Producers Grant
http://www.filmindependent.org/labs-and-programs/grants-and-awards/alfred-p-sloan-awards/
The Alfred P. Sloan Foundation awards one participant in Film Independent's

Producing Lab the annual Sloan Producers Grant. The recipient receives a $25,000
development grant, admission to Film Independent's Producing Lab, and year-round
support from Film Independent.
Film Independent
Jameson Find Your Audience Award
http://www.filmindependent.org/labs-and-programs/grants-and-awards/2012-jameson-find-your-
audience-award/
Includes a cash grant of $50,000 designed to assist the winning filmmaker with
building the audience for his or her with qualifying feature film.
Film Independent
In Kind Produciton Grants
http://www.filmindependent.org/labs-and-programs/grants-and-awards/
Each year, Film Independent awards a number of in-kind production grants to

qualified Film Independent Fellows who are filmmakers in production on a feature
film.
Film Independent
Fellowships
http://www.filmindependent.org/labs-and-programs/grants-and-awards/
Through donor-named fellowships, Film Independent supports the Fellows with cash
grants.
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Ford Foundation
JustFilms
http://www.fordfoundation.org/issues/freedom-of-expression/justfilms/for-grant-seekers
JustFilms focuses on film, video and digital works that show courageous people
confronting difficult issues and actively pursuing a more just, secure and sustainable
world. Initiative funds will be distributed through three distinct paths: partnerships
with major organizations such as the Sundance Institute, the Independent Television
Service and the Tribeca Film Institute, collaboration with other Ford Foundation
grant-making programs where the introduction of documentary film could help draw
attention to an issue or advance a movement, and an ongoing open-application
process that will help JustFilms stay attuned to fresh ideas and stories wherever they
may emerge.
Foundation for Jewish Culture

Lynn and Jules Kroll Fund for Jewish Documentary Film
http://jewishculture.org/film/
Since 1996, the Lynn and Jules Kroll Fund for Jewish Documentary Film has
supported the completion of over 85 original documentaries that explore the Jewish
experience in all its complexity. The fund was created with a lead grant from Steven
Spielbergs Righteous Persons Foundation and sustained over 10 years with major
support from the Charles H. Revson Foundation. The FJC has now opened the 2013
submission process. Filmmakers can receive between $15,000 and $35,000 to finish
a documentary on some aspect of Jewish history, culture, and identity.
Frameline
Frameline Completion Fund
http://www.frameline.org/filmmaker-support/frameline-completion-fund
The Frameline Completion Fund provides grants to emerging and established

filmmakers. This program seeks to provide a much-needed source of financial
contributions to artists who often struggle to secure funding to complete their works.
Grants ranging from $1,000 to $5,000 are available for films that represent and
reflect LGBT life in all its complexity and richness. For two decades Frameline has
provided over 110 grants totaling $389,000 to help ensure that LGBT films are
completed and viewed by wider audiences. Films finished with assistance from the
Frameline Completion Fund include Last Call At Mauds, Go Fish, Brother To
Brother, Maggots And Men, The Cockettes, It Came From Kuchar, Freeheld, We
Were Here, Gun Hill Road, Pariah, Call Me Kuchu, and Vito.
66
Frontline
Proposals
http://www.pbs.org/wgbh/pages/frontline/about-us/faq/
Story ideas can be sent to the attention of the FRONTLINE Series Editor. FRONTLINE
welcomes suggestions from viewers and reviews all letters and ideas. The series
produces approximately 18 new programs each season and evaluates over 600
program suggestions and proposals.
Hartley Film Foundation

Grants with Fiscal Sponsorship
http://hartleyfoundation.org/en/grants
The Hartley Film Foundation awards grants for documentaries in the areas of world
religions and spirituality. In return, the grantees agree to pay Hartley a small
percentage of any net profits derived from the film project. In conjunction with its
grants, Hartley also provides filmmakers with fiscal sponsorship services.
Hot Docs
Shaw Media Funds
http://www.hotdocs.ca/funds/shaw_media_hot_docs_funds/
The 'Completion Fund' will provide financial support of up to $100,000 (limited to a

maximum of 20% of a project's budget) for production companies to complete
specific projects. The 'Development Fund' will provide no-interest loans averaging
between $10,000 - $15,000 in the early development stage, when projects are at the
highest risk and may have not yet secured a market partner.
Hot Docs
Blue Ice Group Documentary Fund
http://www.hotdocs.ca/funds/hot_docs_blue_ice_group_documentary_fund/
The Hot Docs-Blue Ice Group Documentary Fund is a grant program providing
financial support to African documentary filmmakers for development and
production. Development grants of $3000 - $8,00 and Production grants of $5000 -
$40,000 are awarded to approximately four to 10 projects annually.
67
IDA
Pare Lorentz Documentary Fund
http://www.documentary.org/parelorentz
The Pare Lorentz Documentary Fund will provide annual production grants totaling
$95,000 to be used in the creation of original, independent documentary films that
illuminate pressing issues in the United States. Grants will be made to up to 6
projects that tell a compelling story and focus on one of Pare Lorentz's central
concerns--the appropriate use of the natural environment, justice for all or the
illumination of pressing social problems.
IDFA
Bertha Fund (formerly IDFA's Jan Vrijman Fund)
http://www.idfa.nl/industry/idfa-bertha-fund.aspx
The IDFA Bertha Fund supports documentaries that make a difference.

Documentaries are not only a creative form of artistic expression, but also an
expression of a world-view and a lifestyle. These documentaries therefore often
tackle controversial issues in developing countries covering such themes as social
injustice, freedom of expression, human rights, poverty, economic justice and
education.
IFP (McKnight Funded Programs)

IFP First Time Filmmaker Labs
http://www.ifp.org/programs/labs/labsapplication-inf/
IFPs unique year-long mentorship program supports first-time feature directors

when they need it most: through the completion, marketing and distribution of
their films. Focusing exclusively on low-budget features (<$1million), this highly
immersive program provides filmmakers with the technical, creative and strategic
tools necessary to launch their films and their careers. Through the Labs, IFP works
to ensure that talented emerging voices receive the support, resources, and industry
exposure necessary to reach audiences. Open to all first time feature documentary
and narrative directors with films in post-production.
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Impact Partners
Impact Partners Funds
http://www.impactpartnersfilm.com/about_filmmakers.php
Impact Partners looks to finance powerful documentaries that address contemporary

social issues. They welcome unsolicited submissions.
Independent Lens
General Submissions
http://itvs.org/funding/independent-lens
Independent Lens films are often character driven stories, and are known for
compelling storytelling, innovation, and diversity. Independent Lens welcomes
individual expression and is committed to presenting diverse points of view, on
topics suited for a national audience.
International Film Festival Rotterdam

Hubert Bals Fund
http://www.filmfestivalrotterdam.com/professionals/hubert_bals_fund/
The Hubert Bals Fund (HBF) is an initiative of the International Film Festival
Rotterdam that provides grants to remarkable cinema projects in various stages of
completion. Individual grants of up to 10.000 for script and project development
and 20.000 for post-production. Selection rounds take place twice a year. For
Dutch producers only.
International Film Festival Rotterdam

Hubert Bals Fund Plus
http://www.filmfestivalrotterdam.com/professionals/hubert_bals_fund/hbf_plus/
The Hubert Bals Fund of International Film Festival Rotterdam supports filmmakers
from developing countries with contributions in the stages of script development,
post-production and distribution. Annually, between 20 to 40 filmproductions are
realised with the support of the Hubert Bals Fund. In order to stimulate Dutch
producers to get involved in international co-productions, and to support the Hubert
Bals Fund projects in the stage of actual production as well, the Netherlands Film
Fund (Nederlandse Filmfonds) and the HBF set up the Hubert Bals Fund Plus.
69
ITVS
Diversity Development Fund (DDF)
http://www.itvs.org/funding/ddf
The Diversity Development Fund (DDF) provides up to $15,000 in research and

development funding to producers of color to develop single documentary programs
for public television. Funded activities may include travel, research, script
development, preliminary production for fundraising/work-in-progress reels, or
other early phase activities.
ITVS
LINCS (Linking Independents and Co-production Stations)
http://itvs.org/funding/lincs
LINCS (Linking Independents and Co-producing Stations) provides matching funds to

producer-station partnerships. Up to $100,000 in matching funds is available for a
single broadcast program. LINCS applications are accepted year round. The review
process of a complete submission can take up to two months. Around 8 to 10
percent of LINCS applicants will receive funding.
ITVS
Series & Special Projects
http://itvs.org/funding/series-and-special-projects
ITVS accepts proposals on an ongoing basis for commissioned documentary projects

that fall outside of the parameters of the standing initiatives. For development
funding, activities may include travel, research, script development, preliminary
production for fundraising/work-in-progress reels, or other early-phase activities.
For production funding, all production and post-production activities are eligible.
ITVS (Independent Television Service)

Open Call
http://www.itvs.org/funding/open-call/how
Provides completion funds for single nonfiction public television programs on any
subject, and from any viewpoint
70

International Initiative
http://www.itvs.org/funding/international
ITVS International becomes a co-production investment in your documentary

LINCS
http://itvs.org/funding/lincs
LINCS (Linking Independents and Co-producing Stations) provides matching funds to

producer-station partnerships. Up to $100,000 in matching funds is available for a
single broadcast program. LINCS applications are accepted year round. The review
process of a complete submission can take up to two months. Around 8 to 10
percent of LINCS applicants will receive funding.

The Diversity Development Fund (DDF)
http://www.itvs.org/funding/ddf
The Diversity Development Fund (DDF) provides up to $15,000 in research and

development funding to producers of color to develop single documentary programs
for public television. Funded activities may include travel, research, script
development, preliminary production for fundraising/work-in-progress reels, or
other early phase activities.

Series & Special Projects
http://itvs.org/funding/series-and-special-projects
ITVS accepts proposals on an ongoing basis for commissioned documentary projects

that fall outside of the parameters of the standing initiatives. For development
funding, activities may include travel, research, script development, preliminary
production for fundraising/work-in-progress reels, or other early-phase activities.
For production funding, all production and post-production activities are eligible.
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Latino Public Broadcasting (LPB)

Public Media Content Fund (PMCF)
http://www.lpbp.org/fundingguidelines.php
LPB funding will average between $5,000 and $100,000 for programs of most
genres, including documentary, narrative, performance, mixed genre or new media.
LPB will consider funding projects at the production and post-production stage.
Requests for research and development are not a priority.
LEF Foundation
Moving Image Fund Grants
http://lef-foundation.org/DefaultPermissions/NewEngland/tabid/160/Default.aspx
The goal of LEF New England is to fund the work of independent documentary film
and video artists in the region, and to broaden recognition and support for their
work, both locally and nationally. Pre-Production Grants of $5,000 will be awarded to
projects in the pre-production phase of development. Production Grants of $15,000
each will be awarded to projects in the production phase during LEF's major grants
review. Post-Production Grants of $25,000 each will be awarded to projects in the
post-production phase during LEF's major grants review
Los Angeles Film Festival (Film Independent)

Canon Filmmaker Award
http://www.filmindependent.org/labs-and-programs/grants-and-awards/canon-filmmaker-award-
program/#.UUDE21s-tyE
A program for Film Independent Fellows, alumni of the Los Angeles Film Festival,
and Spirit Awards Nominees and Winners. The Award includes a camera package of
one (1) Canon Cinema EOS C300 package loaned to assist the winning filmmaker
with a qualifying feature.
MacArthur Foundation
Documentary Film Grants
http://www.macfound.org/info-grantseekers/grantmaking-guidelines/media-grant-guidelines/media-
documentary-films-guidelin/
MacArthur's goal in media grantmaking is to provide the public with high-quality,

professionally-produced documentary films, deep and analytical journalism, and
well-produced news and public affairs programming. In a media environment
characterized by proliferating information sources of varying degrees of reliability,
the Foundation seeks to support serious, fact-based journalism for television, radio
and the web, the type of original reporting that is likely to be blogged about, linked
to, tweeted, and otherwise circulated throughout the Internet.
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MEDIA Programme - European Commission

Development - Single Projects
http://ec.europa.eu/culture/media/fundings/independent-producers/single-projects/index_en.htm
Provides funding for independent European producers of audiovisual projects with a

European dimension, both upstream of the production stage and during production.
he minimum grant is EUR 10,000. The maximum grant is EUR 60,000 except for
feature-length animations for theatrical release, for which the maximum is EUR
80,000.

Mountainfilm
Mountainfilm Commitment Grant
http://www.mountainfilm.org/mountainfilm-commitment-grant
We are committed to help creative individuals tell stories that represent the spirit of
the festival. Grants are awarded to filmmakers, photographers, artists and
adventurers whose projects are intended to move audiences to action on issues that
matter. Interested parties should apply if theyre creating a work that can be
presented in a theater, gallery or more broadly on television and online. We are
particularly looking for projects that will have a positive and tangible effect on
specific and vital issues. It is also essential that the project is invested with both the
passion and capacity to be completed fully. The overarching intention of our
granting program is to help ensure that important stories are not only told, but also
heard.
Movies That Matter Funding

Support Programme
http://www.moviesthatmatter.nl/english_index/international/support_programme/apply_for_funding
To promote human rights film screenings worldwide, Movies that Matter has
provided an additional incentive for the wider distribution of human rights films.
Through its Support Programme, Movies that Matter offers modest financial
assistance (up to 5,000) to human rights film events in Africa, Asia, Latin America,
the Middle East and Eastern Europe.

Moxie Films
MoxieDocs Co-production Award
http://www.moxie-films.com/moxienew/index.php?page=moxdocscontent
The turning point of art and activism, journalism and history, can come to form the
documentary film. Propelled by this, our production partnership tradition was born.
With continued support from the film industry, and the public awareness of the need
to produce profound non-fiction stories, our sponsorship campaign goal is to
provide the means for complete production, postproduction, and theatrical
distribution to the selected documentary proposal.

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Moxie Films
Moxie Films New Century Writer Awards
http://www.moxie-films.com/moxienew/index.php?page=ncwa
The Moxie Films New Century Writer Awards (NCWA) was established to provide a
valuable outlet to recognize the quality screenplays, and stage plays of both
unpublished writers and emerging writers with minor or few creative writing credits.
We provide cash awards to the Top 3 writers in each of our creative writing contests
since monetary awards help legitimize and validate a writer's good hard work. In
addition to cash prizes the 1st place stage play will be produced in New York City
through MoxieStage, our theatre division, at an off-off Broadway venue for a one-
week run minimum. 2nd and 3rd place stage plays will each receive one public
reading in New York City at an off-off Broadway venue. Selected Top screenplay will
be optioned for an 18-month period, and receives cash. 2nd and 3rd place receive
cash, and a public reading each.

Naked Edge Films

Capital Investment
http://nakededgefilms.com/
Naked Edge Films (NEF) supports entrepreneurial documentary filmmakers through

capital investment and co-production. Their films are story-led, not issue-led, and
are boldly told, globally relevant, and have strong potential for critical and
commercial success. They invest at any stage of a film's production -- from concept
to release -- and we consider films year-round.
NALAC Fund for the Arts

Artist & Ensemble Grants
http://www.nalac.org/index.php/nfa-artist-ensemble-grants
NALAC Fund for the Arts (NFA) grants for Latino artists and ensembles support the
work of individual artists and ensembles in all disciplines. They provide three
different funding opportunities: Project Grant ($1000 - $10,000), Fellowship ($1000
- $5000), Master Artist Grant ($10,000 - $20,000).
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National Black Programming Consortium

National Black Programming Consortium
http://blackpublicmedia.org/
NBPC has a legacy of proudly supporting producers and digital media storytellers
who represent the global Black experience. Its a our goal to provide funding and
distribution within our affiliated public media networks including representation on
our dedicated online/web series channel BlackPublicMedia.org.Our executive
producers review and consider films for distribution on a rolling basis. We give
priority to films that are current and relevant depicting black life and experience in a
unique and often overlooked context, largely ignored by popular culture and films.
We work with producers wholl deliver exciting, entrancing stories and locales in a
professional manner. To inquire about submitting completed works, please email us
an inquiry
National Endowment for the Arts

Funding Opportunities in Media Arts
http://www.nea.gov/grants/apply/media.html
The National Endowment for the Arts provides several funding opportunities for
organizations working in media arts.
National Endowment for the Humanities

America's Media Makers
http://www.neh.gov/grants/public/americas-media-makers-development-grants
America's Media Makers (AMM) grants support the following formats: interactive
digital media, film and television projects, and radio projects. Development grants
enable media producers to collaborate with scholars to develop humanities content
and to prepare programs for production. Grants should result in a script or a design
document and should also yield a detailed plan for outreach and public engagement
in collaboration with a partner organization or organizations.
National Endowment for the Humanities

Bridging Cultures Through Film
http://www.neh.gov/grants/public/bridging-cultures-through-film-international-topics
The Bridging Cultures through Film: International Topics program supports

documentary films that examine international and transnational themes in the
humanities. These projects are meant to spark Americans' engagement with the
broader world by exploring countries and cultures outside of the United States.
Proposed documentaries must be analytical and deeply grounded in humanities
scholarship.
75
Native American Public Telecommunications

Public Media Content Fund
http://www.nativetelecom.org/2013_public_media_content_fund
Vision Maker Media invites proposals for programs intended for Public Television
that represent the experiences, values, and cultures of American Indians and Alaska
Natives. Programs should be accessible to a broad audience, have the potential for a
national broadcast, and can be used for effective outreach and engagement
activities to reach audiences beyond the Public Television broadcast. Assignment of
exclusive broadcast rights for four years and one year off-air recording rights for
educators are included in Vision Maker Medias Production License Agreement. All
completed programs are required to meet the PBS Technical Operating Specifications
and Production Guidelines as outlined in the PBS Red Book, online at
www.pbs.org/producing/red-book/.
New York Foundation for the Arts

Artists Fellowships
http://www.nyfa.org/level2.asp?id=1&fid=1
Artists' Fellowships are $7,000 cash awards made to individual artists living and
working in the state of New York for unrestricted use.
NYSCA
NYSCA Electronic Media and Film Grant
http://www.nysca.org/public/guidelines/electronic_media/index.htm
Electronic Media and Film (EMF) advances artistic exploration and public engagement
in the media arts. EMF is dedicated to creative expression in all genres of time-based
and moving image media, including emergent technology. Support is provided for
projects that employ technology as an art form, historical and rarely seen works that
enable media art appreciation. EMF does not support projects where technology is
employed solely as a communications medium. Priority is given to programs that
combine strong curatorial vision and innovation.
Omni
Omni Documentary Funds
http://www.omnitv.ca/ontario/info/funds/
As part of the licensing approval process for OMNI.2, Rogers Media Television made
a number of important commitments to finance the independent production of
ethnic/third-language documentary and drama programming, and to support
multilingual/multicultural public service projects. Within the $50 million in total
commitments, OMNI Television will dedicate $32.5 million to fund the independent
production of ethnic/third-language documentary and drama programs. This will
take place over seven years (2009).
76
Pacific Islanders in Communications (PIC)

Media Fund- R&D
http://www.piccom.org/funding/rd
PIC awards up to $15,000 for R&D proposals. Because these are public television
funds, the project must be intended for national public television broadcast.

Production Fund
http://www.piccom.org/funding/production-fund
PIC awards up to $50,000 for Production proposals. Because these are public
television funds, the project must be intended for national public television
broadcast.

Completion Fund
http://www.piccom.org/funding/completion-fund
PIC awards up to $50,000 for Completion proposals. Because these are public
television funds, the project must be intended for national public television
broadcast.

Acquisitions
http://www.piccom.org/funding/acquisitions
PIC is seeking programs in many genres including documentary, performance, and

cultural/public affairs. Projects submitted must be intended for national public
television broadcast.

Short Films
http://www.piccom.org/funding/short-films
Pacific Islanders in Communications (PIC) is now accepting completed short films of

Pacific Islander content for its Short Film Acquisition Call. The acquired short films
will be streamed on PIC's website non-exclusively for a period of three years.
77
Pacific Pioneer Fund

Pacific Pioneer Fund
http://www.pacificpioneerfund.com/
The purpose of the fund is to support emerging documentary filmmakers. The term
"emerging" is intended to denote a person committed to the craft of making
documentaries, who has demonstrated that commitment by several years -- but no
more than ten -- of practical film or video experience. It provides $1,000-$10,000 in
grants to support filmmakers who live and work in California, Oregon and
Washington.
Panavision
Panavision New Filmmaker Program
http://www.panavision.com/content/education
Panavision has always been a company that believes in helping students and
beginning filmmakers achieve their dreams. If a camera package is available,
Panavision will often loan it to a film school or training program for little or no rental
charge. However the equipment must be insured while in the possession of the
school. Without Panavisions generosity, students and beginning filmmakers may
never have the opportunity to work with professional grade equipment until they
start working in the industry. As part of this philosophy, the New Filmmaker
Program was started. Panavisions New Filmmaker Program is an ongoing grant
program that was started over 20 years ago. Panavision believes in giving new
filmmakers the opportunity to pursue their vision by donating a camera package.
Without this, many young filmmakers might feel it is impossible to complete their
project. Panavision has seen many filmmakers come through the program and
continue on in a very successful career, and in most cases they become a regular
Panavision customer. Through this program, Panavision donates the use of 16mm or
35mm motion picture camera equipment to filmmakers who are making Public
Service Announcements (PSAs), Showcase Reels, Low-Budget Independent Features
or any other type of short not-for-profit project. The New Filmmaker Program has
four 16mm and two 35mm cameras which have been set aside from the rental pool
and are permanently attached to the program. Digital cameras may also be
considered, based upon availability. These cameras are rotated from production to
production, with time allotted for camera service and maintenance between
productions. To have your project considered for the New Filmmaker Program, you
must submit a completed proposal to the program. This proposal is then reviewed
and a decision is made as to whether or not the proposal meets Panavisions
standards and scheduling requirements.
78
PBS/Corporation for Public Broadcasting

Program Challenge Fund
http://cpb.org/grants/grant.php?id=344
The Program Challenge Fund funds high-visibility, high-impact, limited series that
offer a definitive take on a subject or break new ground in popular, public service
media. CPB and PBS expect a successful Program Challenge Fund program to be the
highlight of a given season's schedule, have the potential to generate publicity, and
attract new audiences to PBS broadcast and online content.
POV
Call for Entries
http://www.pbs.org/pov/filmmakers/submit-your-film.php#.UTZmCXx5MvM
POV holds a Call for Entries, in which we encourage filmmakers to submit films for
consideration for broadcast on POV
Rooftop
Filmmakers Fund
http://rooftopfilms.com/2012/info/produce_filmfundguidelines/
The goal of the Rooftop Filmmakers' Fund is to help our filmmakers make creative,
intelligent, low-budget films. Since Rooftop Films inception in 1997, the mission of
the organization has been to support an independent filmmaking community, and to
help filmmakers at all stages of the process, from production to exhibition. The
Rooftop Filmmakers' Fund has seven grants available for both short and feature-
length films.
San Francisco Film Society

Documentary Film Fund
http://www.sffs.org/Filmmaker360/Grants/sffs-documentary-film-fund.aspx
The SFFS Documentary Film Fund will support riveting documentaries in post-
production distinguished by compelling stories, intriguing characters and an
innovative visual approach. A total of $100,000 will be disbursed annually between
2011 and 2013 to documentary filmmakers nationwide.
79
Southern Documentary Fund

Fiscal Sponsorship
http://southerndocumentaryfund.org/fiscal-sponsorship/
Founded in 2002, the Southern Documentary Fund is a nonprofit 501(c)(3) arts

organization that cultivates documentary projects made in or about the American
South. Inspired by our core belief that documentaries have the power to change lives,
SDF serves as a leading advocate for powerful Southern storytelling, providing
filmmakers and artists with professional support, fiscal sponsorship, and creative
community.
Sundance Institute
Documentary Fund
http://www.sundance.org/programs/documentary-fund/
Sundance Institute's Documentary Fund and Awards division is a core element of the
DFP, granting between $1 and $2 million per year to support U.S. and international
contemporary independent documentary films. With submission deadlines in
February and July each year, and other special invitation only opportunities, the Fund
reviews 1,700-2,000 proposals annually, and grants about 45-55 projects from
filmmakers around the world.

The Academy of Motion Picture Arts and Sciences
Academy Nicholl Fellowhips in Screenwriting
http://www.oscars.org/awards/nicholl/index.html
The Academy's Don and Gee Nicholl Fellowships in Screenwriting is an international

screenwriting competition established to identify and encourage talented new
screenwriters. Up to five $35,000 Fellowships are awarded annually. The
competition has received a record 7,251 entries for 2013.

The Center for Asian American Media (CAAM)

CAAM Documentary Fund
http://caamedia.org/filmmaker-support/funding/
Broadcast hour documentaries are eligible for acquisition or post-production funding

and must be intended for public television broadcast. Awards average $20,000 and
should be the last monies needed to finish a project and deliver a broadcast master.
All projects must have a key personnel member with prior public television credit to
be eligible and have a full-length rough or fine cut to be considered.
80

CAAM Innovation Fund
http://caamedia.org/filmmaker-support/funding/
CAAM has a long and proud tradition of supporting timely and compelling work
from independent producers for public television broadcast. With support from CPB,
the Innovation Fund is a new initiative to fund and license short, online content to be
streamed on the CAAMedia.org website and PBS affiliate sites.

Ready, Set, Pitch!
http://caamedia.org/filmmaker-support/apply-for-2013-ready-set-pitch/
The winning pitch, selected by the jury with audience feedback, will receive a $5,000
CAAM award for research and development.

James T. Yee Talent Development Program: CAAM Fellowship
Program
http://caamedia.org/filmmaker-support/james-t-yee-talent-development-program/caam-fellowship-
program/
Fellowships will range from fully integrated collaborations to regular feedback on

current projects to an ongoing dialogue about professional development.
Furthermore, fellows will have the opportunity to connect with the larger community
of Asian American media professionals at CAAM's annual film festival and a CAAM
Fellowship Program retreat hosted by CAAM for all participating advisors and fellows.
The Fledgling Fund

Film & Creative Media Grants
http://www.thefledglingfund.org/apply
Most of these grants support outreach and audience engagement for social issue
documentaries and range from smaller planning grants to implementation grants for
projects that have a clear plan ready to launch. A small number of these grants
support post-production for timely projects that have strong social change potential.
They typically range from $5K to $30K and are considered in our Spring and Fall
funding cycles.
81
The Fledgling Fund

Field Building Grants
These grants focus on building the capacity of our grantees and the social issue
documentary field. They range from programs, institutes and residencies that
strengthen outreach and audience engagement skills to film festivals and other
events that showcase social issue documentaries as a tool for change. The are
usually between $5K and $25K and are considered in the Spring and Fall funding
cycles.
The Fledgling Fund
Impact Grants
The Fledgling Fund awards two types of impact grants. Documenting Impact grants
provide support for short videos or other media that captures, explains and
communicates impact (up to $10K). Evaluating Impact grants are reserved for the
design or implementation of a structured evaluation effort (up to $20K).
The Jerome Foundation

General Grant Program
http://www.jeromefdn.org/
The Jerome Foundation, offers grants to not-for-profit arts organizations and to

fiscal sponsors applying on behalf of artists for the creation, development, and
production of new works by emerging artists in New York City and Minnesota.
The Roy W Dean Grants

Film Grants
http://www.fromtheheartproductions.com/index.shtml
We fund shorts, docs, and independent features that are budgeted under $500,000.
They must be films that are unique and make a contribution to society. We fund
compelling stories about little known subjects, historical films, and films that touch
hearts. We like films that expose, and bring, important information to light; as well
as films about little known people when there is a good story. We are story-tellers,
and that is the main criteria for entering and winning our grants; stories that can
change, heal, and enrich, our lives.

82
Tribeca Film Insitute

TFI Documentary Fund
https://tribecafilminstitute.org/programs/detail/tfi_documentary_fund
The TFI Documentary Fund provides grants and guidance to support exceptional
character-driven, non-fiction works-in-progress that sit outside of the social issue
landscape and aim to take audiences into someone else's environment and spotlight
the journey of the individual. They are for films, based anywhere, that are in the
advanced stages of development or either in production or post-production. Grants
of at least $10,000.

Gucci Tribeca Documentary Fund
https://tribecafilminstitute.org/programs/detail/gucci_tribeca_documentary_fund
Provides finishing funds to feature-length documentaries which highlight and

humanize issues of social importance from around the world. Funded films are
driven by thoughtful and in-depth storytelling, bolstered by a compelling visual
approach. For films, based anywhere, that are in production or post-production with
the intended premiere exhibition. Grants range from $10,000 to $25,000.

TFI Latin America Media Arts Fund
https://tribecafilminstitute.org/programs/detail/tfi_latin_america_media_arts_fund
Supports innovative film and video artists living and working in the Caribbean,
Mexico, Central and South America whose works reflect their diverse cultures in the
documentary or mixed media form. For projects that are in production or post-
production. $10,000 grants.
Vision Maker Media

Public Media Fund
http://www.nativetelecom.org/files/rfp2013guidelines.pdf
Vision Maker Media will consider funding programs at any production stage. They
offer funding for development, production, post-production, and new media.
83
Visions Sud Est

Swiss Production Fund
http://www.visionssudest.ch/visionssudest.pdf
The Swiss 'visions sud est' fund supports film productions from Asia, Africa and
Latin America and helps in making them visible in Switzerland. The fund 'visions sud
est' aims to fill a void in existing forms of help by supporting authentic and
compelling projects - both full-length fictional works and creative documentaries -
without imposing conditions, and by doing its best to ensure their distribution and
visablility in the country itself.
Women In Film
Film Finishing Fund
https://www.wif.org/fff
The Women In Film Foundation's Film Finishing Fund (WIFF FFF) supports films by,
for or about women by providing cash grants of up to $15,000 and in-kind services.
Women Make Movies

Women Make Movies
http://www.wmm.com/
We seek exceptional works in all formats and styles, including feature length and
short documentaries, narratives, experimental works and animation, especially those
that challenge traditional aesthetics and forms
World View
Project Development Fund
http://worldview.cba.org.uk/fund/project-development-fund/
Currently only established programme makers/media producers/production

companies may apply. Individual producers are not excluded from applying to the
Fund, but are encouraged to approach established production companies to
umbrella their projects.
84

FV Sample Proposals

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Minnesota and New York City

FILM AND VIDEO PROGRAMS

Helpful Program Information

J. Jerome Hill Biography ..2-3

Program Information .4-5

Frequently Asked Questions6-8

Sample Project Descriptions .9-39

Sample Budgets 40-50

How to Write a Proposal that Sells.51-54

Grant Writing Advice.55-59

Potential Funding Sources ..60-84

From: Robert Byrd

Date: 0D\, 2013

Re: Sample Proposal Project Descriptions and Budgets

Jerome Hill Papers

The papers may be accessed online at http://collections.mnhs.org/Jerome Hill or

Policies and Priorities

Do I need a fundraising plan if I'm requesting my entire budget of $30,000 or less

How long do I have to complete my project?

Is it okay to apply with a co-applicant?

Do these programs fund actors, producers, writers or crew people?

Do these programs fund organizational, commercial, or industrial work?

Do these programs fund pre-production, distribution, marketing, tape to film

Do these programs fund retroactively?

Would you be willing to write a letter of recommendation for me if my project

Will these programs fund projects containing controversial subject matter?

Do these programs fund artists from other countries?

Will I get my work samples back?

Do these programs fund any size budget?

How many grants do these programs provide?

What criteria are used to determine support?

How many film and video artists apply to the program?

Do you have a preference for a certain genre of work or subject matter?

Is more than one project allowed per applicant?

Show Me the Money

Color Within the Guidelines

The Martini Shot

The Waiting is the Hardest Part

The Parade Must Go On

1. The needs, issues, and objectives involved

Here are some things to keep in mind when preparing a proposal:

Grantors want compelling films.

Grants and Foundations

Event Financing, Donations, and Alternative Fund Raising

A foundation is a nonprofit organization that donates (or grants) money, equipment

A fiscal sponsorship is a relationship and like all relationships it is important to find

10,000 Canadian dollars to a video or filmmaker to assist in the production of a

American Masters, Thirteen/WNET's award-winning biography series, celebrates our

Anartcic Artist and Writers Program

Arthur Vining Davis Foundation

Asian Cinema Fund

Black Public Media

PUMA Catalyst Awards are an international documentary fund offering independent

The California Documentary Project (CDP) is a competitive grants program that

Catapult Film Fund

Catapult Film Fund provides development funding to documentary filmmakers who

Chicken & Egg

The Alfred P. Sloan Foundation awards one participant in Film Independent's

Each year, Film Independent awards a number of in-kind production grants to

Foundation for Jewish Culture

The Frameline Completion Fund provides grants to emerging and established

Hartley Film Foundation

The 'Completion Fund' will provide financial support of up to $100,000 (limited to a

Date: 0D\, 2013