Thursday, January 31, 2013

Film - Veronica Guerin

Veronica Guerin, played by Cate Blanchett, goes to an Irish slum to see the drug addicts and how they live. Upset by what she saw, Veronica becomes interested in how the drug lords live the high life at the cost of the drug addicts becoming sick and dying.

Veronica meets John Traynor, aka "The Coach" played by Ciarin Hinds. She asks him questions about the drug trade and "The Coach" gives her answers, in case,granted that the information she reports in the newspaper doesn't consist of him or his name.

The other side of Veronica is that she is a wife to her husband and a mother to her son. She lives a quiet life at home, however, her husband has worries and fears for her. Her mother, played by Brenda Fricker and her brother feels the same way; but they know that being a news journalist is a job Veronica enjoys doing.

A conspiracy ensues lively Eugene "Dutchie" Holland played by Joe Hanley. Veronica visits "Dutchie" earlier at his home asking him a lot of questions about the drug trade. Veronica meets "Dutchie" again at the airport. Dutchie tells Veronica as he was about to board a plane that since she visit his home, he should make a "visit" to her home.

That night, man shoots a bullet through the window of her home. Not threatened in any way, Veronica discovers that the head of the drug ring is wealthy socialite named John Gilligan, played by Gerald McSorley. As she tries to get closer to him, an unfortunate incident occurs. Before she leaves her home to attend a Christmas party, a masked figure steps into her home and tries to kill her, but he only shoots her in the leg. This doesn't stop Veronica. She, now on crutches and limping around, still press the investigation of John Gilligan. She ultimately meets him at his home. However, John gives Veronica a horrible welcome by beating her up and throwing her into her car. She drives away from the estate bruised and shaken. Later, John calls Veronica and threaten to harm her son if she doesn't back off.

"Coach", on John Gilligan's behalf, meets Veronica at a local pub and apologizes for what happened to her. He also makes an offer of a lot of money to her if she didn't press charges against Gilligan. Veronica refused the offer. Veronica meets "Coach" one more time and she tells him that the next report she writes will "clear things up" about every person involved in the drug trade. She also reveals that she has a policeman taking photos of themselves talking to each other, incriminating him. Feeling threatened, "Coach" orders "a hit" on Veronica.

On the morning of June 26, 1996, Veronica is at a Dublin courthouse. She's in court for having too many parking and speeding tickets. The judge is merciful and lets her go by having her pay a small fine. She leaves the courthouse and she's talking on her cell phone while she's driving, unknowing of the fate that awaits her. She makes a stop on the Naas road and while she's talking, two shady figures breaks her car door window and one shoots Veronica dead. They drive off and citizen come out of their cars and look at Veronica's lifeless body in her car. Her death was the catalyst to many positive changes in Dublin and help prompted arrests of many criminals, including her murderer.

Tuesday, January 29, 2013

Filmmaking - Stages and Techniques

Filmmaking - Stages and Techniques

A film or movie is a form of entertainment which entertains population by portraying a story using sounds, digital effects and sequence of images. The most foremost part of the film is the characterization. On watching a film, most of us tend to get complicated with the character and the story of the film. A film is produced by recording images straight through camera or by creating images straight through discrete animation techniques.

Steps complicated in film production in Vancouver:

1. Film production starts with the making ready of view for the film. A view or an idea is thought about to be the foundation over which the story (building) needs to be developed.

2. After fixing a view in your mind, you have to manufacture the story by writing script with dialogues. The story shall be depicted in pictorial forms (using diagrams and pictures), so that each and every scene can be communicated truly to the crew members.

3. Now with your script, you have to seek the help of determined companies to finance for your film. The enterprise shall conclude to finance for the movie after listening to the script. Then settle on the persons to play specific characters in your movie (be focused while selecting the cast and crew members for the film).

4. Look out for locations. Location should suit the single scene.

5. Schedule the timings for each and every scene and manufacture them. Giving away the call sheets.

6. There are discrete costly equipments available in Vancouver and Bc, and the equipments for film production can be superior based on the funds of the film.

To begin your vocation as a film maker in Vancouver, it is requisite to get trained in some film school which teaches your requisite techniques in film making. Only, when you get permissible training, it is possible for you to survive in this field. This is one field which keeps developing day by day and there is no retreat for this industry, wherever they go, they could survive. This field offers you with a collection of jobs. production a film is not a straightforward one, it includes screenwriting, producing, directing, acting, editing and so on. The film school offers many diploma and certificate courses in filmmaking.

The following are the stages in filmmaking:

1. Development
2. Pre-production
3. Production
4. Post-production
5. Distribution

Is filmmaking an earnings or expenditure?

- production a film need lots of efforts, here a huge number of money is spent and the films are taken with a hope, that it might fetch more behalf In the future.

- population give good response to nice story. On the whole, filmmaking is a useful one.

- Altogether, expending in the gift might fetch you more behalf in the future.

Monday, January 28, 2013

Detecting Ghosts through Media - Film, Voice Recording, request for retrial Sensors, and climatic characteristic Gauges

Though we have been capturing ghosts on film since the dawn of
photography, the methods by which we are able to do this today has vastly
improved, along with the technology of film.

Likewise, voice technology, since the invention of the telephone, has vastly
improved, and there are some schools of idea that subscribe to Evp, or
"Electronic Voice Phenomenon," which is performed, in essence, by tuning a
radio to a "white noise" frequency (usually an Am station) and recording hours
and hours of this "fuzz-noise" in the hopes of being able to pick up the voice
of a ghost, a idea that many population heartily believe in and pursue quite
readily.

It has also been observed and documented over the years that the "best
times" (though not exclusively) to be able to taste a ghost are the early
hours in the morning, around 3 a.m., and again, 12 hours later, at 3 p.m. In
the afternoon - scientific studies have revealed that both of these times are
ideal to "catch ghosts" in their activities because these times reflect the
minimum of barometric pressure in the double daily wave, plus the minimum
of air movement near the ground, along with a minimum of "oscillations" in
terrestrial magnetism. During these times, explored and discovered by Dr.
Gunther Wachsmuth in his meteorological book, Earth and Man, there is a
great estimate of conductivity of the vertical electric current on earth, and of
radioactivity in the layers nearest the ground. And because ghosts, like all
things, are composed entirely of pure energy, it makes good, tasteless sense
to discontinue that they will undoubtedly be more active and accessible to us at
those time gradients.

There are a few distinct areas of idea on the field of how to capture
ghosts in a medium by which we can view or go over later for supplementary study,
and just to cover all the bases, we'll consist of all of them here; what might work
well for one someone may not do the trick for another, so it is safe to try any or
all of these methods:

1) Working With Film and Camera Equipment

In today's state-of-the-art technology, though there are many distinct ways in
which to quantum a ghost's activity; the most favorite among these is the
camera.

High-speed, color film used on either a 35-mm or digital camera will produce
good results, as will Polaroid film. Many, many photos of orbs and streaks of
white that were not seen by the naked eye when the photos were taken have
appeared in Polaroid shots, so just because those are not the "latest and the
greatest" of our cameras today, don't put them on the shelf just yet.
It's best to use two cameras; if you're going with a team of four or five people,
of course, this is much easier to handle; one someone can load a 35-mm
camera with 400 Asa color print film, and other can shoot with a digital
camera. other good way to capture images of ghosts is with black-and white
film, and the use of a tripod is an excellent luxury, but often one that the
average ghost-hunting team won't be able to carry around very easily.
Use the cameras sparingly, but actively when you sense a ghostly presence
or an energy; at these times, you should naturally point and shoot, point and
shoot, repeatedly, when you feel you have come upon a inherent ghost. You
should be prepared to go straight through many, many rolls of film because often,
only one or two in 200 photos will actually catch the ghost on film. Remember,
they move very swiftly and can appear and reappear in the blink of an eye,
so make sure you stay on high alert at all times!

2) How To Use appeal Detectors

Before "pointing and shooting," however, there are other technical devices
you should have on hand to be able to detect appeal and temperature, which
should keep you from wasting too much film.

One important piece of tool is a gaussmeter, which is designed to
register deviations in electromagnetic fields. other is the sound level meter,
which is designed to quantum the intensity of audio generated from either
below or above the human audio range. Yet other very helpful gismo is a
digital thermometer, which measures even the most delicate and slight
temperature fluctuations.

Also, don't forget the old, trusty tape recorder - magnetic tape, as discussed
earlier in this book, will also pick up audio sounds not detectable to the
human ear, and you don't have to spend a great deal on money on a good
tape recorder that will furnish a digital prognosis of sound.

When you begin to research what you believe to be a haunted place, it's
best to start with the electromagnetic field reader, or "Emf" device. You can
go from room to room, scanning for any abnormalities - and, most
importantly, for inexpensive explanations to these abnormal readings, such as
any electrical gismo that gives off a "reading," sending the sensor shooting
way up. If you do eliminate all other inexpensive possibilities of an irregular or
"abnormal" reading, then point and shoot! It's also a good idea to have
another someone in the group test the air temperature; if it drops dramatically in
one spot or area in the room, that's your second "clue" that you may have
indeed found a ghost.

Emf meters like these are not unique or hard to find; they are ready in
most electronics shop and can be bought right off the shelf. In particular,
however, some units are more desirable than others for these purposes.
An Emf detector that has a range of zero to 199.9 milligauss operates on a
9-volt battery and is small sufficient to fit inside a shirt pocket. Remember that
large appliances, such as refrigerators, microwave ovens, fish tanks, etc., will
generate a very strong Emf reading, giving you a "false-positive," so take
those precautions discussed earlier to ensure that you're not just detecting a
vacuum cleaner! Watch the screen to rule when and if a reading
greater than 1.0 milligauss is obtained; this, without any exterior electrical
interference, could indicate the presence of a ghost. However, one could get
that same reading and watch it immediately drop below the 1.0 milligauss
level, which would indicate that the operator of the gismo may have scanned
a ghost entertaining across the room. These are very sensitive instruments, and
great care and patience is needed to be able to arrive at good, verifiable
conclusions, so set aside as much time as inherent to spend in the areas that
you may feel are vulnerable or high in ghostly activity.

3) Using Audio Equipment

Going back to the ghost "voice" phenomenon discussed in chapter 3, also
referred to as the "phantom voice," these are events in which a ghost seems
to be able to speak to us straight through an electronic medium; it is able to
manipulate the machine in such a way so that it reproduces a sound as
similar to what we understand and elucidate as a "voice," but it does not call
and leave a more lengthy message, etc., because a ghost does not have a
voice, as we do; again, ghosts use idea patterns to send their energies
and manipulate them in assorted ways straight through some electronic mediums,
and this is just one of the ways in which they can achieve that.
The ghostly "voice" is below or above the human range of hearing, which is
the calculate that an animal, such as a dog or a cat will be able to "hear" the
voices, such as they are, whereas we cannot. For example, a dog can easily
hear a dog whistle, but when we blow on it, we hear no sound - it is the same
principle.

The sound gismo that is best used to pick up ghostly "mutterings" is a simple,
small, analog sound meter, similar to the Emf, which also uses a 9-volt
battery and when scanned around a room, has a sensitive needle inside
which will suddenly "spark" if ghostly sounds are detected. Watch the intensity
meter for minor needle movement while the analog sound level meter is set
on the bottom scale possible. Then, if you see needle movements, slowly
scan the meter around the room until the signal is increased. The needle will
then "flutter" lightly back and forth, and it is at this point when photographs
should be taken, and a tape recorder should be activated as well to tape any
sounds not detectable by the human ear but that can be picked up via
magnetic tape and analyzed later.

4) What is a "Cold Spot?"

Another very trustworthy recipe of detecting a ghost's presence is with a digital
thermometer. Investigators have documented many cases in which a narrow
column of cold air rises from the floor to the ceiling of a room - the
investigator can pass their hands straight through this column, which all the time appears
to be very narrow. When they do so, they have reported feeling a "chill" or a
definite "shift" in temperature relative to the rest of the room. This indicates a
ghostly presence. But the interrogate remains: Does the "cold spot" originate the
chills that population feel when their hair is electrified and actually "stands on
end?" Does their hair stand on end due to the electromagnetic fee the
ghost gives off by its very presence in the room?

Because we already know that ghosts use our vigor to insinuate themselves
into our earth plane, it would be safe to say that this is the case, and that we
may be able to soon prove that ghosts enter our plane via a very narrow type
of "vortex" or "funnel" instead of just "plopping down," or "landing" carelessly
somewhere.

It could be, and it is still being debated today, that the swirling vigor vortex
through which ghosts make their presence known is the actual source of the
column that produces the cold air and the resulting electrical discharge.
Photographs that have been taken of these swirling vigor vortexes indicate
that this vigor apparently has matter, or density, to it, because it reflects
light (we are able to picture it, hence it reflects light) and becauseit also
casts a shadow.

Anyone curious in trying their luck at becoming a ghost hunter can start
building their ghost-hunting tool bag with simple, yet efficient tools. There are
two items that are "must-haves": a 35-mm with 400 Asa color or black-and white
film, or a digital camera; and a accepted magnetic compass for
detecting a ghost's energies. The compass should be used as a directional
finder, using the needle to point to the ghost's energy. Even with these simple
tools, you'll be well on your way to some happy ghost hunting!

Wednesday, January 16, 2013

The Big Six - Top 6 Major Film Studios in the Movie business

When you watch a movie, either it be at the cinema or in the ease of your own home, it's seldom you absolutely think about where the movie was produced and how each film firm secured the ownership to the movie you're watching on the screen. The movie firm is extremely competitive. The six major film companies discussed below consist of 90 percent of the Us and Canadian box office revenue. If you're pondering a career in film, you may want to pay very close concentration to the statistics below.

And while there are a few "mini-majors" still turning a profit in the industry (Lions Gate Entertainment and Mgm for example), it's fairly difficult for film companies to stay afloat while contentious with these extremely prosperous empires.

Below you will find the six major film companies (also known as "The Big Six") and a brief report of each:

1. Warner Bros. Pictures. Comprising a whopping 19.7 percent of the Us/Canadian store share (2007 figures), Warner Bros. Pictures is the biggest player in the film industry. Securing the ownership to major films like Harry Potter, Superman, Batman, The Matrix and Star Wars have made Warner Bros. The No. 1 name in the business.

2. Paramount Pictures. With 15.5 percent of the Us/Canadian store share (2007 figures), preponderant Pictures continues to be one of the most prosperous film yield companies in the world. Star Trek, War of the Worlds, the Mission Impossible series, Transformers and Tropic Thunder are just a few of the favorite films produced by preponderant Pictures.

3. Walt Disney. One of the most preponderant film yield companies in the history of the business, Walt Disney now holds 15.3 percent of the Us/Canadian store share (2007 figures). With extremely prosperous movies like Pirates of the Caribbean, National Treasure, Meet the Robinsons and Enchanted, there's no doubt that Disney will continue to play a key role in the industry for years to come.

4. Columbia Pictures. Comprising 12.9 percent of the Us/Canadian store share (2007 figures), Columbia Pictures remains a big player in the business. Some of this company's recent successes consist of Casino Royale, The Da Vinci Code, the Spider-Man series and Step Brothers.

5. Universal Studios. 12.2 percent of the Us/Canadian store share (2007 figures) belongs to Universal Studios, which continues to make millions for the film industry. With major hits like the Bourne series (Bourne Identity, Bourne Supremacy and Bourne Ultimatum), The American Pie series, Knocked Up, American Gangster and The predicted Hulk, it's very clear that Universal Studios knows what it takes to make money in this industry.

6. 20th Century Fox. Also known as "Twentieth Century Fox," this extremely prosperous movie yield firm makes up 11.9 percent of the Us/Canadian store share (2007 figures). Some of the biggest and most prosperous movies from this empire consist of the X-Men series, Mr. And Mrs. Smith, Star Wars Episodes Ii and Iii, and the overwhelming Four.

Once again, if you're looking for a career in the film industry, the six companies listed above are the cream of the crop. If you have the chance to work for one of these companies, we wouldn't suggest passing it up.

Monday, January 7, 2013

How to Make a Documentary - 10 simple Steps to Transform Your Documentary Idea Into a fulfilled, Film

How to Make a Documentary - 10 simple Steps to Transform Your Documentary Idea Into a fulfilled, Film

Learning how to make a documentary can be tons of fun and does not want a filmmaking degree. You plainly need a burning desire to tell your story and a willingness to outline out each step of the process.

Here are 10 easy-to-follow steps for manufacture a documentary

Pinpoint a documentary idea -- The key here to choose a topic you are truly passionate about. Create an outline -- Map out the basic buildings and topics that you want to consist of in your documentary. You also want to think about the storytelling style -- News/Pbs Frontline-type style? Half documentary/Half movie with reenactments? Talking heads? Personal point of view? Observational? Gather your audio visuals - Start gathering existing footage and other audio visuals on your topic - this can be old home movies, photos, audio recordings, national archives, music, etc. Then rule what new footage is needed to tell your story and start shooting. This can be interviews with experts, capturing an event such as a horse show or football game, shooting footage of one of your characters - for example if you are focusing on a famed artist in your community, you'll want to get footage of that artist painting. Produce/Edit a Trailer - Once you've gathered 3-5 hours of "raw footage", start piecing together a mini-version of your documentary, also called a "trailer". A trailer is typically 3-8 minutes and captures the essence of your documentary. This is a great tool to build buzz and help raise money for your documentary. Shoot remaining footage - Continue gathering interviews and other footage to cover all the areas you listed in your documentary outline. Catalog and make -- If you are producing an hour-long documentary, you could potentially have dozens, even hundreds, of hours of footage that you will need to pull from during the editing process. Make sure all your interviews have been transcribed and that you know exactly where all your footage is located. There is nothing worse than being "in the groove" editing and having to stop and look straight through all the footage to find a exact shot. Write a script - Even if you don't plan to have a narrator, you should have a script to lay out the basic order of your sequences, how you plan to start and quit your film, plus any interview quotes. Edit your documentary -- If you've never edited video before, you may want to start off with some simple free video editing software such as Apple's "iMovie", although something a bit more sophisticated such as Final Cut Express will give you more flexibility. Start your documentary off with something intriguing, unusual or controversial to catch the attention of the audience. And know how the documentary will end to help rule your editing choices prominent up to the conclusion. Upload to the internet or burn to a Dvd -- Make sure you own the copyright to all things in your documentary before posting on the web or manufacture copies. That goes for music (even ambient music playing in the background), archive footage and photos. Promote, Distribute and Showcase -- This is the final step in the process where you might submit your documentary to film festivals, pitch it to Pbs or other television broadcasters, upload to Amazon UnBox to sell copies of your documentary, have a premiere showing, create a communal relations campaign colse to the issue of your documentary and of course send out free Dvds and thank-you's to all who helped you.:)

So that is my quick, top 10 list for how to make a documentary.

Sunday, January 6, 2013

Film and Video Editing May Be the Most leading Part of production Movies

Film and Video Editing May Be the Most leading Part of production Movies

To the novice, film and video editing sounds like one of those wholly technical subjects, only possibly enthralling to citizen with very logical and pragmatic minds, much like engineers. Visions of darkrooms and sterile-looking studios filled with all types of inexplicable mechanical equipment, where rolls of film negatives are poured over and scrutinized by serious-looking people, then diced, sliced and spliced back together, somewhat completes the total mental picture. Clinical, stark, precise. But in actuality, film and video editing is much more than celluloid or electronic image surgery. In fact, it's quite the opposite.

Think of it this way; man shoots a video of your beloved cousin's wedding. The end goods is a nice, mostly continuous documentation of the event, with abrupt starts and stops here and there when the main operation changes or moves to a dissimilar area or location that necessitates a dissimilar "shot". The end result is a compilation of pictures and sound that is considerably good and hopefully more memorable and satisfying than still photographs, but still leaves a lot to be desired.

However, if the same raw video was settled into the hands of a skilled editor, the end result would be quite different. The resulting piece would tell the story of the culmination of your cousin's three-year romance, as narrated by several key family members. It would capture and convey to the viewing audience the couple's wedding day emotions of love, and joy and appreciation for one an additional one and family, prospect of the new life the consolidate intends to originate together, a bit of sadness for the life they are forever leaving behind, and so on. In other words, in the hands of a skilled editor, the video becomes a "story" with a beginning, middle and end; a cohesive synopsis of the couple's romance. A day in the life...

What most citizen not in the film or video business don't perceive is that film and video editing is an art form. Editing is arguably the most prominent element of film or video production. It is in the editing, the art of arranging pictures and dialog and sounds, that a accomplished film goods is able to enumerate a story first envisioned by its writer, and subsequently by a director and producer to its intended audience. Days, weeks even months of shots captured on film or video must be studied, interpreted analyzed and finally distilled into a story lasting a fraction of the time it took to capture it all.

People covering the film development business have slight or no idea about "post production" and the crucial part it plays in the output of a film or video work. It is because of the requisite significance of this phase of film and video output that the process takes an extended number of time to complete.

Much more that cutting and splicing pieces of cellophane together or merely arranging video sequence, editing is a fabulous blend of technical knowledge and skill combined with an artist's creativity and craftsmanship. It is moving, adding, deleting, juxtaposing, scenes, sounds, and images to compose film shots and video clips into a determined context, originate definite imagery and timing, evoke single emotion, originate definite imagery and mold them into a story.

Film editing as a craft began in the late 1890's in the very earliest days of appeal pictures. In the intervening years between then and now, whatever interested in learning about film or video editing, commonly attended college courses or one of a number of reputable film schools to learn the craft.

In his book, "The Technique Of Film And Video Editing", considered one of the best teaching and training tools for directors , Ken Dancyger highlights the history of film editing from its origins. He speaks specifically about the editing of great cinematographers such as Alfred Hitchcock and Charlie Chaplin and Buster Keaton, taking a detailed look at the underlying theory of film and video editing. He discusses ideas, practices and styles and choices for editors in the context of theory, the history of film and video editing, and practice. He also discusses new technology and the impact it has in terms of the art of editing.

One of the greatest changes to film and video editing occurred with the introduction of computer editing. Hand cutting and splicing of film, as well as the more complicated, mechanical and "linear" process of video editing, became tedious and outdated with the arrival of computer editing in the early 1990's. Editing on computers gave rise to a whole new creativity prized by film editors, as well as lower costs and much more efficiency in terms of video editing.

Whether for film or video, the editing process occurs in three basic steps. These comprise capture, the editing process itself, and putting the goods in a distributable form. During the capture phase, the actual "shots" or photo images are compiled into a format from which they can be edited. During the actual editing process, the variety of shots are organized in a desired sequence and sound is added through "sound mixing" until they form a total storyline. Once this has been accomplished, the film or video is finalized in the desired format whether film or high-quality video for distribution.

As technology continues to advance, the ways in which film and video are edited will continue to compose and progress. As it stands today, computers and user friend video editing software as well as the Internet have opened the doors to editing so that it is available to not only professional film and video editors. Now students of film and video and film development novices, as well as journalists, writers and the normal social have unprecedented passage to video editing tools. several beloved video editing programs make film and video editing inherent for professionals as well as novice editors, together with Avid Express Pro, Adobe Premier Pro, Sony Vegas, Final Cut Pro and Apple Final Cut Studio 2.

With today's technology and the advantage of personal computers, digital camera equipment and the availability of knowledge from new and increasingly fine software programs, approximately whatever with the desire, can learn film and video editing, produce commercial products and even feature movies from their home or personal studio.

Friday, January 4, 2013

How To Pitch Your Documentary Idea and Write an effective Documentary Proposal To Get Funding

How To Pitch Your Documentary Idea and Write an effective Documentary Proposal To Get Funding

So you have a overwhelming documentary idea and you just need some cash to get it going. Where do you go? How do you find funds?

One of the first things you'll need to do is write a Documentary Proposal. A proposal not only helps explain the scheme to possible funders and supporters, it's a great practice to get You the filmmaker thinking through all the details. Basically, a Documentary Proposal is your film's company plan.

Here are the key elements you'll need to comprise in a documentary proposal: synopsis, scheme overview, treatment, style/tone of project, output schedule, interview subjects, crew bios, advisors/experts, partnerships, target audience, budget, fundraising plan and distribution strategy.

There is often a lot of overlap when describing the synopsis, scheme report and treatment. There is no right or wrong answer. One way to think about it is to say that the synopsis is a short 1-2 paragraph summary of your project. The summary is a longer synopsis that goes into more information about the project, possibly 1-2 pages in length. And the treatment is more like a script, describing exact scenes and quotes. A treatment is often difficult to write at the beginning of a scheme since the nature of a documentary is that it can't be "written" until after it's been shot, so I would say together with a treatment in your proposal is elective unless specifically requested.

An efficient documentary proposal will respond the following questions:
Why this documentary, why now? Why is this documentary dissimilar from any other film ever made? Why are You the one to make this documentary? What gives you and your team the credibility to be trusted with donated money (experience, partnerships, advisory board, fiscal sponsor, letters of support, etc) What unique entrance or connections do you have for production the film?

The big picture goal for a documentary pitch or documentary proposal is to build Credibility. You do that by putting together a well-written proposal, having an experienced team (if not you, that can be crew, advisors or partners), having a compelling film concept, a well-thought out plan and a realistic budget.

Once you have your proposal together, now it's time to start production your pitch. If you are a new filmmaker, my best guidance is to avoid the big foundations and grants and go after the "low hanging fruit." Find people who are already passionate about the field matter of your film and see what connections they have. Basically, you want to go through the "back door" to find your funding. Maybe a friend's uncle is the Ceo of a local million dollar company. Or possibly your favorite college professor is friends with the executor of a small family foundation. Leave no rock left unturned.

The last thing you want to do is say, hey, who's the richest guy in town and let's go after him. Does the guy already have a proven interest in the field of your film or in art/film projects? Do you know man with a personal association to the guy who can pitch the scheme on your behalf? If no, then don't waste your time or theirs.

Find natural connections to people who are already pre-sold on the theme of your documentary scheme and send them your proposal. They already know the field matter of the film is important, now all you have to do is convince them that You know how to get the job done.