Dirty Dozen, Lumina Contract

Lumina Contract:

1.     Objectives:

To iron out the details of the equipment and personnel needed the day of Visions inside of Lumina.

2.     Customers:

Technically Visions is the customer, but it could be said that the audience and panelist are also customers.

3.     Deliverables:

The contract will establish the rooms needed, equipment needed, the schedule, and budget.

4.     Budget:

As of right now, the grand total comes out to $4,576.00

5.     How Long:

This process is a little iffy at the moment. Meeting times have not been set to discuss the contract specifications with Sandra. Once that happens everything will go smoothly.

6.     Skills:

Organization and detail-oriented skills are a must to find places to either build or cut in the contract. Especially considering the inclusion of a panel instead of a keynote speaker.

7.     Needed Resources:

The contract and meeting times.

8.     Who is working on the project:

Rob and I are doing the preliminary work while Sandra will join in to hash out the final details.

9.     Schedule:

By Friday we should be have met and gotten a rough draft of the contract for this year.

10.  Risks:

The risks include: Sandra not being able to meet, the panel idea falling through, the room being reserved beforehand, etc.

11. How will you communicate with your team:

I will, for the most part, communicate with Rob. I will present my progress in our department meetings as well as to the class when assigned.

12.  How to measure success:

If the contract can be hashed out in a reasonable amount of time and we can get all the equipment we needed (press feed, microphones, room reservations, cameras, camera placement, panel table, and panel mics. (possible lectern).

Festivals on Festivals

I was extremely proud to see Cucalorus on the list in this article. I know it's not a farfetched notion for it to be included, but it was still exciting to see. One of the things I took away from the article are the gripes with the bigger film festivals. I didn't expect it to be so exclusive for whatever reason, but it made me all the more glad that there are other festivals giving rejected movies the time of day. The article was very critical of the different countries film festivals played in. First Italy, then France, then America. Not to say that these claims about facism and elitism aren't true, but the veracity at which the author went after these countries and their faults with film festivals was slightly startling. Josh Koury's festival seems like a worthwhile thing to put on your bucket list. BUFF sounds far more accepting than others especially with it not being a slave to the people that fund it. Something that always spells out trouble for most of the world seems to be backers. Or rather huge backers that have to be promised something in order to garner their support. Overall I thought the article was justly critical of the mainstream film festival circuit and did a film job highlighting the other, smaller, more accessible festivals. Josh Koury's answers to interview questions also serve to help young filmmakers struggling to get their film seen no matter how many times they are rejected.

Manual. Responsibilities. Adulting

Job: Lumina Tech/ Traffic Coordinator

Out of my two positions, I'm most comfortable in Lumina. Since I work as a projectionist the AV set-ups and other technical issues that may arise are easy for me to handle. Not that I would need to much, being that a projectionist will be on duty, but it's useful to have multiple people know how to fix a problem. Reading the manual, I saw that the traffic coordinator has a bit of a task. At first I was confused about whether or not this was dealing with people or actual cars (lol). But it seems like that will be a bit involved. I'm glad for knowing the steps to notify and get parking, but I'm still worried just because I know how strict the parking office is. Needless to say, I'll learn quickly. Another thing we should hurry up and do is the Lumina Contract. Anyway, on another note, I hope this better prepares me for setting up events like this and of a larger scale. I think it is a useful skill to know. Also with working for the event managing team, I can apply what I know to a current position as well instead of only looking toward the future. I’m both excited and scared for the actual date of the festival, but I don’t mind working in a high-pressure environment. It’s the planning stages that I don’t do so well at.