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• I SHOT HONG KONG - How we operate and why.

  Tuesday, Jun 30, 2009 1:37PM / Standard Entry / Members only
  3 comments

    I SHOT HONG KONG - How we operate and why.
  
  Tuesday, Jun 30, 2009 1:37PM
   We often receive questions regarding the operation of the festival, the cost of submissions and why we charge what we do for screenings and events surround the festival.
  
  I've attempted in this blog to explain how we operate and why we do it.
  
  Firstly, the festival is owned and operated by Ocean Vista Films and administered by a small team of 5 people - 3 from Ocean Vista Films and two individuals who donate most of their time (apart from a small expenses stipend) to make sure it happens. The festival was started as a labour of love and continues to be operated on that basis. It costs an enormous amount of time and money every year and diverts resources away from our traditional core business. In fact, the festival (for now) runs at a significant loss.
  
  ISHK is also truly independent. We don't rely on Government hand outs like other festivals in Hong Kong. We run on the generous nature of the people who donate their time, the sponsors who provide their goods and services for the events that raise money for the festival and for our nominated charities, and the resources of Ocean Vista Films. As such, there's very little cash sponsorship to cover direct expenses.
  
  WHY DO WE CHARGE SUBMISSION FEES
  
  Most film festivals charge submission fees to pay for the administration and screening of the films. Our fees cover:
  1. TELA film classification. TELA is the government agency that classifies films. It charges large sums of money for the privilege. These sums change dramatically depending on many different variables but the average cost this year for each film has been around HK$65 per minute. Do the arithmetic on a 15 minute film and you'll see that the submission fee doesn't cover costs.
  2. There's also the costs of advertising for submissions in magazines and newspapers.
  3. Administration costs for accepting the films (sorting them into their categories, copying them for the judges, organising judges' nights and accompanying literature).
  4. Significant post production and editing costs to put the films onto a screening time line.
  5. Designing, composing, writing and publishing the information about each film in screenings programmes, websites, newspaper and magazine stories and the like.
  6. Translation from both English to Chinese and Chinese to English.
  7. The design and manufacture of trophies (this year the design work has been sponsored by China Stylus).
  8. Prizes and awards. Approaching and administering sponsor prizes.
  9. Satelite events, leading up to the festival, such as the panel discussion and the networking evenings.
  10. Doctor's bills to cure our mental health and sleep deprivation ailments ;+)
  
  SO WHAT ABOUT SCREENING INCOME?
  
  This year, we have been fortunate enough to partner with Grand Cinema. They have given us a cinema theatre with 118 seats. EACH AND EVERY SCREEENING ONLY COSTS $60, which is no different to any other film charged at the cinema. In order to pay for the theatre, we split that revenue with Grand and they get a much larger percentage. The income from screenings is actually so small, it doesn't cover the cost of design and printing for posters, programmes, billboards and flyers.
  
  WHY IS THE DINNER EXPENSIVE AND EXCLUSIVE?
  
  The VIP dinner is not aimed at filmmakers. It's aimed at high earning corporate types who we target through a $1000/hd dinner to help fund the festival so we can show your films on the big screen. These corporate business people are patrons of the arts. But they also get a good deal. For $1000 they get a 3-5 course meal, all their wine and beer, an international singing artist performing live, the Ocean Vista Films Artist Series Exhibition, the awards presentation and the entertainment (djs and performers) of the wrap party - all at one of Hong Kong's best venues. We also use the dinner to invite people who have helped us make the festival happen. We pay for their dinner and evening as a heart-felt thank you.
  
  WHAT ABOUT THE PARTY COSTS?
  
  Through the generous sponsorship of W Hotel and alcohol sponsors such as Dragon I and others, we are able to organise parties where the filmmakers can mingle, discuss their work, check out the work of their friends and meet established industry players whom they would otherwise not have the opportunity to do so. But putting on these events costs money. From the hiring of dj decks and pa systems, to studio lights, the red carpets, design and printing of back drops, down to the hiring of vans to pick up the alcohol. The costs are enormous and its a lucky day if we cover these costs (which is why you all must come). The most expensive event this year is the opening night screening and after party at $250. But for this money, patrons get the screening ticket to the premiere, a red carpet event, and the after party with a dj and free flow alcohol. I defy anyone to find me an event which offers better value.
  
  WHAT DO THE FILMMAKERS GET?
  
  As with any film festival, those who submit films do so because they want to draw attention to their abilities as artists and hopefully to further their careers in the film industry. This can only happen if they submit work to be judged by peers and if it is put up on the big screen. Making a film costs money, but so does getting it up on to the big screen. This is the trade-off the filmmaker and the film festival event holder make with each other. It benefits everyone, especially the audience, which gets to see new, exciting and innovative film and talent. I Shot Hong Kong also actively promotes each film for the filmmakers in other outlets. For the past two years we have sent the best ten films to a special screening at the Prague Fringe Festival - at our cost.
  
  BOARD OF ADVISORS
  
  We have a board of advisors, consisting of some of the biggest names in the industry here, who keep us on the straight and narrow and guide our business endeavours. These people also donate their time and experience to help us when we get in a jam. They come to the events and make themselves available to the filmmakers as well, helping them with advice where they can. They also keep their eyes out for new talent among our filmmakers, which benefits everyone in the industry.
  
  JUDGES
  
  Our judges come from all sections of the artistic community - entrpreneurs, film critics, Hollywood producers, production company owners, music producers and fine arts backgrounds. They are objective, discerning, and successful in their own right.
  
  In conclusion, putting together a film festival is a very costly, stressful and time consuming job. It's not just the festival itself. Just ask any of the other event organisers whom we team up with throughout the year to carry on the artistic push, such as Clockenflap, HarbourFest, Speak Up, and Moonlight Movies and Galleri. Each of the groups that hold these events know what I'm talking about. They hold these events for the benefit of the artistic community and to further the development of arts in Hong Kong. They get very little thanks for doing these events other than the personal satisfaction of knowing they've made a small difference.
  
  We hope you enjoy this year's festival and if you have any comments to make about how we organise the event, please speak to us directly. We love feedback. It helps us to improve the event each year. Email us at info@ishothongkong.com
  
  We look forward to seeing you at one of the ($60 - cheap cheap la) screenings between July 1 and July 5 and to the great festival events which have been put on especially for you.
  
  Yours sincerely,
  
  The ISHK Dream Team.