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Festivals Special

Festivals Special


2:00 - how to make sure that your submission looks good?4:00 - “Make it as comprehensive as possible”5:30 - “There needs to be self awareness about where your series is”7:45 - “I open up a submission and I watch the video before even looking at the rest of the information”9:40 - “when we talk about submissions of pitches, than the written materials becomes much more important”12:25 - “It’s really important to show what you can do as a filmmaker and what are the resources that you have”15:50 - “on an indie level, it doesn’t have to be so quite as elaborate”19:35 - “Look at the what the festivals do, are they a festival that gets a lot of comedy buyers?”22:00 - “Web festivals in particular, have this vibe. More so than film fests”24:30 - “this is one of the most amazing things on the internet, you can reaching anyone, anywhere. You can reach around the globe, we are not restrained any more by broadcasters”28:40 - “the average of most web series is around 2-3, but the really good ones, you sometimes see translated subtitles into 17 languages, and than you’re like, OK, this one made it well”
נילי צרויה, יוצרת הסדרה ״אישה אחת״ויובל ברגר, במאי ואחד מיוצרי הסדרה ״להישאר במשחק״מספרים איך הם יצרו את סדרות הרשת שלהם!פרק 1למה בכלל סדרת רשת,ואיפה מצאנו את הסיפורים של הסדרה
ראיון עם רומן רונזגורט, תסריטאי, במאי ומפיק שפועל באוקראינהברייקדאון של הפרק:1:05 - לפני 12 שנה הייתה שביתה באוניברסיטאות, לא היה לי מה לעשות, לא יכולתי לעבוד, אז עזרתי לחברים שהקימו להקת בידור וזה הלך ממש טוב5:05 - לפני 5 שנים גילינו את החיה הזאת שנקראת סדרות רשת, שהן קצרות יותר, זולות יותר ומהירות יותר ואפשר להגיב איתן למה שקורה בעולם16:30 - יש כמה דרכים להרוויח, שאפשר לשלב ביניהן21:40 - סדרות רשת מיועדות לנישות. בנטפליקס, הנושאים גדולים, פה אפשר לתפוס נושאים יותר קטנים26:25 - הערך המוסף זה הדיבור הישיר מהיוצר אל הקהלהסדרות שעליהן דיברנו בפרק נמצאות ממש כאן:
Rose Of Dolls and Oliver Mend lead us into their world of Web Series and Digital content in SpainEpisode Highlights:5:15 - we felt so good when we went to other (Web) Festivals and we wanted to bring that feeling into our city8:15 - We represent a bit of the rebels of the Web11:35 - People that come to our Festival, believe that creating Web Series will take them to the next point in their careers, and we have seen it happen20:20 - In the Basque country, there is a new fund, which is specific for digital content, and Web Series is mentioned as one of the formats that are part of this program24:15 - Genre mix is extremely high and rich31:25 - We are going to see more and hybrids of formats38:00 - There is a business model, it’s starting to work and it’s coming soon with Quibi44:20 - Our Festival will open submissions in February and up to June
Interview with Joseph Valentino Palau, the director and founder of the Copenhagen Webfestepisode Highlights:2:30 - on our last year, the producers within the film industry have taken in interest in the festival because of our ability to bring in diverse creators and storytellers6:40 - The Countries that do support Web Series, take a lot more risks in their stories19:20 - Our main goal for the Festival has always been to connect the Danish Film Industry to discover new talent on the international level and the local level23:25 - Once we put money into Web Series, our stories are going to change
A deep dive into how digital media and Web Series develop in ColumbiaGuest: Santiago Gomez, Director of the Bogota WebFest1:30 - “There was a need in Bogota”3:10 - “Here in Columbia, we had many years of violence, and now we have a peace process and it’s successful, and we decided to open a category that’s called Peace and Reconciliation Projects…”8:15 - “Brands are doing it in a traditional way, They are posting explicit content of their brands, like in TV…they have no idea how to take the risk, and talk about other content that’s going to help them, not only to strengthen their audience but to win more public” 22:15 - “Story Telling is the key"25:30 - "What we need to do as Festivals, is show that we can take risks, and show how successful content is working in different parts of the world”
תקציר הפרק:- מלון ביפן שאפשר להתארח בו ולשלם דולר אחד בעבור השהייה בו- Web Series World Cup 2019 - Final Ranking- מאה מיליון שקלים יועברו מגוגל ופייסבוק לטלוויזיה הישראלית - זה נפלא לנו?- דנה שטרן, המנהלת של ״יס סטודיו״ התראיינה להוליווד רפורטר ונשמעה אופטימית, אנחנו קראנו כמה דברים בין השורות- וסדרה מעולה ששווה לצפות בה, נתנו לה 9.9 מתוך 10!Over and Out -סדרה נוספת שציינו במהלך הפרקDreaming Whilst Black -
- מרימים לאירועים שהיו- קולות קוראים, סדנאות והקרנות- קצת חדשות על נטפליקסלינקים:This Is Desmondo Ray - - Camp -משפחת שווץ -עמוד האירוע של הקרנת פרקי הפיילוט -סדנת ריפרשת -סדנה עם איילת בכר בבית אריאלה -הגשה לקרן מקור -
1:25 - “We had the opportunity to work for the Public Broadcasting channel in Belgium, who launched a Web Series competition” 5:45 - “We tried to deal with bi-sexuality but not to be too serious about it”8:00 - “In Web Series you can talk more freely about sexual orientation” 10:30 - “[RTBF] is the public broadcasting channel and they have been making Web Series for 10 years”15:00 - “It was the first of their (RTBF) Web Series to get on YouTube… Both AUVIO and YouTube helped each other and the project became bigger”19:00 - “We are going to make a second season of the Web Series (La Theorie Du Y)”Series Link -
Episode Breakdown:2:15 - “in the end of 2018, my series debuted… and now everyone in Moscow and in Russia in general wants to make Web Series”5:00 - “I had my own prohibitions while making this Web Series”7:10 - “When I sent the script to some actors, they responded: Oh I have seen it somewhere. I have asked them to show me but it never happened, and then I understood - it was familiar to them because they themselves were In Bed, in real life”8:55 - “I have always thought the the main thing to me was to make Web Series and promoting it was not my job, but I was wrong”10:30 - “Digital reporter are the first ones who hosted this Festival for Web Series (Realist WebFest) and we won two prizes there”12:15 - “In USSR and after breaking down the USSR, there was a taboo on this topic, on erotic topic in cinematography and we position ourselves as the first erotic web series in Russia”15:05 - “From the very first idea, the very first zest of the idea, to the actual making, whatever it is, there is  a huge gap and you need to cover this gap, and you need to just go ahead and do it”
Bri Castellini - USA

Bri Castellini - USA


Episode Breakdown:1:10 - “Stareable is an audience building platform for web series creators”3:45 - “The current distribution methods for web series creators are kind of lacking”5:45 - “Anyone who has an experience - can. All of the gatekeepers are busy doing something else”7:35 - “What our community is really trying to do is give creators or people who are interested in becoming creators, the resources and the knowledge they need, to take their destiny into their own hands”9:40 - “The bridge between writing and actually producing something you have written is a pretty long one and a pretty scary one, so a lot of people come to the Web Series community with a full script but they have no idea what to do with it”14:10 - “Every other week there is a new Web Series getting sold to Television”17:40 - “I think people still haven’t quite figured out what an internet only video landscape looks like”21:00 - “Every person has different talents, has different interests,  has different things that they can offer the world, and so me trying to follow in Bernie Su’s footsteps isn’t going to do me any good - because I’m not Bernie Su”23:30 - “People are starting to understand that it’s not just a cute thing you do on the weekend with your friends, it’s a legitimate art form”
Episode Breakdown:1:30 - “Hallyu is a Korean word, “Ha” means “Korean” and “Llyu” means “Entertainment”4:35 - “In 2013, Samsung made a branded Web Series”8:25 - “The Korean government realised that the format is very important for the future”14:55 - “in 2014 I discovered LA Web Fest”18:00 - “We have the formula. That makes us have a future”22:50 - “Dialing on your app to Korea, Europe, South America or Australia is something you can do at any day and any time and use that information that every person has in a different part of the world in order for your creation to be better”
Episode Breakdown:3:50 - “Content for the Web is very blurry at the moment, it can basically fit anything”7:20 - “We went with the pilot to meet them (potential audience) directly in schools, high schools, we screened the pilot and got immediate feedback”10:00 - “The problem is, if you try to do something perfect you just end up with something very, boring”13:50 - “I always preferred to work with a smaller team for a longer time”16:50 - “What touches you in the pilot is the mood and the atmosphere of the whole thing”18:45 - “That’s what art and culture can do, is that you share something that you cannot explain”21:40 - “it’s a very new format, and there’s not many people who know so much about it, so we’re still investigating what are our best ways to find funding, to find distribution” 23:25 - “I think more and more broadcasters are going to emerge because there is a big demand on content”27:20 - “We got some interest from some VOD platforms in Europe and America, but it’s very difficult for them to come onboard before we have the production and the full episodes”Link to Pilot Episode:
Luke Eve - Australia

Luke Eve - Australia


Episode Breakdown:2:10 - “I started photographing a lot of local bands”5:30 - “Short films are kind of dead in their opinion, if you want to get work in America - you need to be making a Web Series”8:00 - “it’s hard to tell the story of High Life without talking about Low Life”11:00 - “we were very specific about making sure that the story was tailored towards the  Web Series format”15:00 - “The strategy for us was that if we could make something that was really nice production value and high class entertainment than we will get some critical success and a following, and luckily that worked for us”18:30 - “The hard part with Web Series is how to cash flow it, how to finance it”22:00 - “I think the next 12 months is going to be a really interesting period”25:50 - “I got a little theory of myself, sometimes I get into trouble for it, but what the hell”30:50 - “When I would talk to people about the show, especially to those who were already working in Television in Australia or elsewhere, they would go, Oh that’s cute, you made a Web Series - That would drive me insane”
Viv Schiller - Brazil

Viv Schiller - Brazil


Episode Breakdown:2:00 - “i have never created anything for the web until RED”4:55 - “The main challenge is to sustain the story”6:00 - “I have to think economic-wise, that’s my main challenge as a writer”10:30 - “Nobody was considering funding Web Series in Brazil, so we have our own way of doing things at the moment”12:50 - “Can Web Series create some sort of a profitability model?”15:55 - “Our Fans are our main backers”18:20 - “if your story has good impact on people than they are likely to back your project, that’s how I view success”19:20 - “Write something that you would like to see”Vivian’s Email - 
Episode Breakdown:1:45 - “My first web series won a lot of awards and it opened many doors for me”3:00 - “Web Series is like cinema, the same rules but a different platform”5:20 - “Web series can have different Genres (Not only comedy)”7:35 - “I did an experiment with my last Web Series (Anachronisme)”12:10 - “There is a lot of good feedback for Anachronisme”14:10 - “Netflix is a good example for the evolution of cinema”17:22 - “it’s really important to create, not just one web series”
Episode Breakdown:1:30 - “We started creating content quite early”2:25: - “The whole filming stuff started when we were in school”5:00 - “2 Days later we got a letter from the legal department of Warner Brothers”6:55 - “Up until today we counted 59 Million Downloads”, “We got a call from the Wachowski brothers and they laughed their balls off”9:00 - “Ever since we were kids we carried around a box and every time we had some funny ideas, we would write it on a piece of paper and put it in that box”11:30 - “We got out our Play mobile figures from the basement of our parents and put them in front of the big TV screen and we shot some Western scenarios”13:30 - “We locked ourselves in his little apartment in the back woods of Germany for a weekend with a huge amount of foam rubber and fleece and started building and trying”16:00 - “It’s just really a project where we put everything in that we wanted to do”19:00 - “The YouTube algorithm does not favor Web Series”22:45 - “The Ad revenue from YouTube is a joke”24:20 - “The basic question is how do you define success in the world of Web Series”26:30 - “People are very much heading in the direction of watching serialised content”27:50 - “You will not get anywhere without a team that stands behind you and supports you”30:00 - “One thing that is emerging internationally is that network and telephone companies start building their own video portals”
ראיון עם עם שניים מהיוצרים של ״מדינת ירושלים״ - נתן אודנהיימר ואור דרוריברייקדאון:2:00 - ״לא חשבתי שאגיע לתחום הזה כל כך מהר״4:55 - ״אתה כותב סיפורים אבל אתה נורא מוגבל בקהל שלך, אם אתה רוצה שאנשים ישמעו את הסיפורים שלך, אתה צריך לעבור מעבר לדף״7:15 - מהי בכלל מדינת ירושלים?8:30 - ״להתעסק בירושלים באופן כללי, אנחנו פה, אנחנו מוכשרים ויש לנו את הציוד ובא לנו לעשות״9:55 - ״מדינת ירושלים זה על ירושלים כמו שהניו יורק טיימס זה על ניו יורק״12:45 - ״זה התחיל כשאני ותומר יצאנו לעשות כתבות״15:10 - ״הקונספט היה שיחה עם בנאדם מעניין באיזשהו לוקיישן שאומר משהו על הדבר הזה״17:40 - ״ירושלים היא מקום מוזר שיש בו כל כך הרבה דברים מוזרים שחייבים לדבר על זה רגע״19:55 - ״מה זה להראות את ירושלים מנקודת מבט של מישהו שמתחפש לגיבור על? מה זה להראות את ירושלים מנקודת מבט של פמינסטית רדיקלית?״21:00 - ״בעצם אף אחד מאיתנו לא מגיע מהעולם של וידאו״24:00 - ״מה הוביל אתכם בשאלה של ״מהו הסיפור הבא?״״27:35 - ״בתוך הקבוצה שלנו, כל אחד מושך לכיוון קצת אחר״30:50 - ״מבחינתי כל מה שהוצאנו עד עכשיו, אנחנו עדיין רק מוצאים את השפה, רק מדגדגים את זה, לא עשינו שום דבר שהוא באמת פרובוקטיבי״32:35 - ״כל הסיפור של קרקעות הכנסייה בירושלים״34:55 - ״אף אחד לא מוצא את הידיים והרגליים בתוך הסיפור הזה ואנחנו אמרנו, בוא נראה אם אנחנו יכולים לספר את הסיפור הזה בצורה מעניינת ב-12 דקות״39:30 - ״יש אנשים שעפו על הפרק הזה (פארק ויין) שהוא מראה משהו עמוק״42:00 - ״לאן לדעתכם הולך העולם הזה של סדרות הרשת?״45:15 - ״הדברים קיימים, בוא נבין איך אנחנו יוצרים מזה תמונה חדשה, קצת כמו מה שקותימן עושה למוזיקה״49:10 - ״החזון של מדינת ירושלים הוא להקים מגזין רשת, כמו שיש את Vice News, רק בירושלים״
1:05 - ״כשאני נכנסתי לתפקיד (למאקו) עוד לא היה מקובל להשקיע תקציבים בתוכן וידאו מקורי״2:55 - מה מנחה אותך ביצירת התוכן שעליו את אחראית במסגרת התפקיד שלך?4:00 - ״שיהיה תוכן טוב ויגיע להרבה עיניים, שיהיה טוב, שיהיה מעניין ושיעורר רגש״6:00 - ״אני משתדלת בחלק מהפורמטים לפחות, לבטא הרבה רעיונות, לא בהכרח כאלה שאני מסכימה איתם, אבל כאלה שידברו אל הרבה אנשים״8:35 - ״היתרון של BOLD זה הפשטות שלו״11:05 - ״הגיע אלינו מישהו דרך מתווכים, בחור מעזה, שרוצה לעשות BOLD״15:45 - האם יש איזשהו ערך נוסף שאני כצופה חווה מצפייה בסדרה הזאת? (BOLD)16:45 - ״סיפור טוב יקבל הרבה יותר חשיפה בוידאו מאשר בטקסט״18:45 - האם את יודעת להגיד מיהו הקהל של התכנים והסדרות ברשת?20:15 - ״סדרות רשת זה נורא מוכוון למתוסרט״22:35 - לאן הרוח נושבת בעולם הזה של תכנים ברשת?
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