dok.incubator – open programme 2019

dok.incubator offers 3-day open programme for Czech and Slovak film professionals that connects them with internationally established tutors. The programme is held in English.

Applications for open programme are now closed.

Confirmed tutors and guests can be found here.

LIFESAVING GUIDE: HOW NOT TO GET LOST AND MAKE SOME MONEY
3 days on the documentary distribution and marketing

 Tuesday, June 25th
INTRODUCTION TO DISTRIBUTION AND MARKETING

9.00 – 10.45   Evolution of the Revolution
Not piracy, but Netflix and digital media completely changed the distribution chain. The audience’s choice impact increases; social media are changing the way people learn about the films and there are no clear rules anymore. The intro guidance into the jungle of current distribution provides Salma Abdalla (Autlook Filmsales).

11.00 – 12.30   Group Work with Alphapanda
Why does a producer need a marketing specialist? What media channels and social platforms to use when marketing your documentary? Groups work with marketing specialists Joanna Solecka and Mathias Noschis (Alphapanda) on how to stand out in a highly competitive industry.

14.30 – 16.00   Case study: Getting into Sundance
How to prepare your film for big competition? Success story of one the dok.incubator films The Disappearance of Your Mother which premiered at Sundance. What did the producers do right?  And what can we learn from it? Tips and successful strategies offered by Salma Abdalla.

Individual consultations with Joanna Solecka and Mathias Noschis (marketing specialists – Alphapanda) and Lauren Valmadre (sales/acquisition manager – LevelK).

Wednesday, June 26th
DISTRIBUTION CLOSE UP MORNING

9.30  – 11.00    Who Needs a Distributor?
Interview with Sigrid Dyekjær (Danish Documentary), a producer with an innovative approach towards distribution and significant revenues from circulation of each of her films and Grant Keir (Faction North, Ltd.), on how they secure distribution already in the early stages of the documentary development and about where the producer’s role in the distribution process is.

11.00  – 12.30   Distribution Case Study
Case study with Salma Abdalla  (Autlook Filmsales).

12.30 – 13.30    Where Is the Money?
Based on the revenue analysis of three film case studies we will discuss where most of the producer’s income within the current distribution comes from and what the good strategies for the future are. With sales agents Salma Abdalla (Autlook Filmsales), Lauren Valmadre (LevelK), Jason Ishikawa (Cinetic Media), Diana Karklin (Rise and Shine) and festival representative Harry Vaughn (Sundance).

Individual consultations with sales agents.

FESTIVAL AFTERNOON

15.00 – 16.30   Festival Map of Europe and North America
With the critical approach, we give an overview of nowadays most important documentary festivals, their characteristics, how they can help your film and how they can be useful on the PR level and for next distribution of the films. The session is guided by Grant Keir and Sigrid Dyekjær and commented by sales agents.

17.00 – 18.30   Festival’s Backstage
Programmers of prestigious European and North American festivals give an insight into the selection of the films and how they decide on which film takes home the main prize. With Harry Vaughn (Sundance), Joost Daamen (IDFA), Olena Decock (Hot Docs), Ondřej Moravec and Julie Kárová (Jeden Svět).

Individual consultations with festival representatives.

Thursday/Friday, June 27/28th
PROJECT FEEDBACK DAY

Individual meetings with festival representatives and sales agents.

Saturday, June 29th
SALES AGENT’S MORNING

9.30 – 12.00   Fishing in the Big Pond
Being in the catalogue of one of the prestigious sales companies can get your film to the best festivals and secure its future.  But how to reach it and work with the sales agents successfully? What are their conditions, what do they expect you to do for your film? In the hot chair, the producer Grant Keir is questioning three different sales agents about how they select films, how they deduct the money from revenues, what the filmmaker can negotiate for himself and what they should be careful about in their contracts.