Software
Crowd Funding 101: How to Maximize Your Online Campaign
Brandon Walter Irvine helps filmmakers crack the code of crowd funding.
May 12th, 2011 | Brandon Walter IrvineCrowd Sourcing. Crowd Funding. Kickstarter. IndieGoGo. Everyone's either doing it, talking about it, or wishing they knew enough to utilize these new approaches to making a movie from the ground up. Here's your primer on who, what, and how.
The Big Players and What Differentiates Them
Beyond a Social Network
At SXSW, Steven Abrams explores the threads between technology, fundraising, and independent filmmaking.
March 24th, 2011 | Steven AbramsWhat's interactive to the third or fourth power? SXSW and its deepening relationship to all things tech and social media. Steve Abrams comments on how, at this year's fest, the intersection of social networking, fundraising, and technology affected the showcased films and which filmmakers are leading by example.
South by Southwest (SXSW) has become a convergence of film, interactive media, and music, as the lines between these media have increasingly blurred. So it's appropriate that David Dworsky and Victor Köhler's documentary, Press Play Pause, was chosen for an opening night premiere.
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Sustaining Big Projects through Small Gigs
A trend toward online documentary-style commercials might be a good source of supplemental income for filmmakers.
September 17th, 2009 | Enette NgoeiCorporate television commercials are quickly becoming a thing of the past. Instead, businesses both big and small are turning to documercials, commercials shot like documentaries, to more sincerely convey their message via the Internet. Like it or not, this trend is opening up doors for independent filmmakers — both financially and professionally.
A machine’s dial turns, and a white powder is added to a spinning beaker of water as a woman’s voice overhead talks about toothpaste and animal testing. It looks like a documentary you might find on PBS, but instead, it’s a commercial for Tom's of Maine.
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AIVF: And What it Meant to Me
July 1st, 2006I first became aware of AIVF when Martha Gever was editor of The Independent. I marveled at this national organization that put out each month a magazine chock full of weighty, intellectual and critical articles on film and video.
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PIRACY BE GONE!
July 1st, 2006 | Simone SwinkIndiepix and PixelTools Corporation recently announced that the 2,000 films available on Indiepix.net’s Download-To- Own system will be watermarked using a new technology called MPEG Escort. The invisible, digital watermark allows online purchasers to make copies, but prevents pirates from doing so, (the watermark makes it simple to trace who originally purchased and downloaded the film.)
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Voices from Issues Past
July 1st, 2006What happened at AIVF over the last 30 years?
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What’s Your Budget?
Navigating the software jungle
November 1st, 2002 | Amanda DossBefore shooting a film or video, long form or short form, narrative or documentary, before beginning development, fundraising, or even casting, there is one thing every filmmaker should have, a budget. It is a crucial part of every production. Its one of the few constants in every type of filmmaking. Its the thing that almost every other decision hangs on.
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Opening With Style
Using Photoshop to design professional-looking titles
October 1st, 2002 | Greg GilpatrickAs anyone who has been to many festivals or film school screenings can attest, for most independent and student filmmakers, title design is a rushed process at the end of a busy editorial cycle.
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3D Animation
How the software applications stack up
September 1st, 2002 | Greg GilpatrickThe world of 3D animation is slowly opening up to new artists. New training options, online communities of users, and lower prices now make the prospect of 3D animation more enticing for independent filmmakers.
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Cleaner 5.1
an essential tool for optimizing video for the Internet
July 1st, 2002 | Greg GilpatrickDelivering video over the Internet poses an interesting challenge to those who want to preserve the image quality of their video while giving the audience the best experience possible. Video delivered over the Internet must both look and sound as good as possible yet download quickly so that the audience does not become annoyed at waiting for too long before the video starts.
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