Q: WHAT IS THE ECHOLIGHT AWARD?  WHO IS ECHOLIGHT?  WHAT'S THE MINIMUM AWARD?
A: EchoLight Studios is providing up to $1 Million for feature film production to the producer of the BEST FILM of the 168 Film Project Signature Speed Film Competition in 2013. 

In addition to the minimum $250,000 guaranteed production budget commitment from EchoLight Studios, Christopher Morrow, EchoLight Chief Global Strategist emphasizes: "We are very excited to work with the talented filmmakers taking part in the 168 Film Project.  Our goal is to go beyond the minimum guaranteed production budget and make a $1 Million filmbased on mutually agreed upon content." 

After the Best Short Film Winner is announced, the parties will begin the creative development process resulting in a film with a budget in the range $250K - $1 Million based on mutually agreed upon content. The relationship will be flexible, so as to complement the strengths of the winning producer.  EchoLight features a full film distribution platform servicing theatrical, home video, digital/VOD and broadcast in both domestic and international markets www.echolight.com.

Q: WHO IS ELIGIBLE FOR THE ECHOLIGHT AWARD?
A: Eligibility is limited to entries in the 168 Film Project Signature Speed Film Competition, including drama, comedy, musical, etc.  All eligible films will use Speed Film Rules and schedule.  Other film types are not eligible as they use a completely different production schedule.

Q: WHO WILL DETERMINE THE BEST FILM WINNER?
A:  The 168 Film Project Jury will make the final decision.  See Jury Page.

 Q: WHAT ARE THE CONTENT GUIDELINES FOR THE WINNER OF THE ECHOLIGHT AWARD? 
A: They are the same as the 168 Film Project content guidelines. Films will uplift and/or edify the human condition, showing real consequences for actions and reflecting traditional values. 

Q: WHAT HAPPENS FOLLOWING THE ECHOLIGHT AWARD ANNOUNCEMENT AT THE 168 FILM FESTIVAL, AUGUST 10TH, 2013?
A: Once the Best Film is awarded, meetings will commence to acquaint the parties and begin the development process.  Creative development/search for the script for the Feature will begin no later than 90 days following the Best Film Announcement. It is up to the filmmaker (with help from the community) to find great content and present it to EchoLight. The quality of the package will determine the amount of the award, starting at $250K, up to $1 Million. Feature Film Production will begin as soon as reasonably possible, following a green-lit script.

Echolight is excited to discover filmmaker passions and to produce stories that fuel that passion.  Once an appropriate script is discovered, the methods, personnel, locations, budgets and all the ingredients of a successful film will be analyzed and executed. Echolight will manage the production and approve all creative decisions with input from co-producer, 168 Media, LLC, which will consult and collaborate on the project.

Q: CAN THE FEATURE BE AN EXPANSION OF A “168” FILM? 
A: Yes, but the subject material for the feature film is not limited to an expansion of a 168 short.  The feature’s subject material can be any approved script, whether it is existing or yet to be written.

Q: WILL I BE ABLE TO USE THE CAST AND CREW FROM MY 168 SHORT FILM? 
A: All crew members will be considered, but the final crew decisions will be made by EchoLight Studios in consultation with the winning producer.

GENERAL QUESTIONS:

Q:  YOU'VE CHANGED THINGS.  HOW DO I ENTER?
A: There are six steps to a Team Registration:

1. Visit the 168 STORE or CLICK HERE to purchase your team registration.
2. Prior to checkout, REGISTER on the site or LOG IN with your NEW username and password
   (credentials from the old 168 site are no longer valid)
   IMPORTANT: ONLY ONE TEAM REGISTRATION PER USER ID.
   If you desire to make multiple films, please register a secondary user ID in a separate transaction.
3. Visit the Producer Dashboard ("Manage My Entry" from any page) and enter the Team Information page.
4. Verify the information and click "SUBMIT" to generate your TEAM NUMBER. Make note of it or print the page.
5. Download and print the 168 Entry Agreement (link also found on Team Registration page.)
6. Follow the instructions to fill in, sign and return the first part of that form via mail, fax or email.

Q: DO I HAVE TO WAIT TO HAVE A COMPLETE PRODUCTION CREW BEFORE I SIGN UP?  
A: No. You do not have to have it all together to sign up. In fact, many teams come together at the last moment. Since you will not know your assignment until you get the verse (unless you're not making a Signature Speed Film), you need to get out there and sell yourself and the kind of project you wish to make.

Q: HOW DO I FIND CREW MEMBERS?
168 facilitates introductions through our Member Directory (registered users only) and at our various programs.  Plus you are free to use our Facebook and Twitter Communities to find people. Please be sure to give us a like from all your cast and crew and recommend us. Some producers prefer to cast a wider net by offering the experience on Craig's List or their local acting/film communitites' bulletin boards or forums. Many aspiring crew members are willing to work just for the experience.

Q: HOW MANY PEOPLE CAN BE ON A TEAM?
A: Include as many on your team as you wish. You can even go solo if you like wearing many hats. All team members must sign a release form. Sample forms are provided once you sign up.

Q: WHAT RIGHTS DOES 168 CLAIM ON MY FILM?
Producers are required to sign an entry and licensing contract. This contract gives the 168 limited license to your film. The contract document is included with the Application Agreement, which you can download and study here.

Q: DO I HAVE TO BE IN CALIFORNIA TO COMPETE?
A: No! We have entries made on location all over the world, including Israel, Kenya, and Ohio!

Q: DO I HAVE TO MAKE A PREACHY MOVIE?
A: No.  Most of the 168 films are just good stories with a Judeo-Christian worldview, which can be summed up as "Love God and Treat Others as You Wanna be Treated."  See our  CONTENT RULES. You are free to communicate the Gospel of Jesus if you like, but this is not required.

Q:  WHAT DOES IT COST TO ENTER & TEAM & HOW DO I PAY?
A:  The team fees are listed in the store.  Pay by check or use a credit card in our store under Team Registration. Fees go up as production week draws near, so hurry! The fee is per TEAM, NOT per individual. 

Q: WHAT KIND OF FILM CAN I PRODUCE?
A: When you sign up you can declare what type of film you intend to produce.  This can be changed if your circumstances change. The types include:

• 168 "Signature" Speed Film - which can be any cinema genre (drama, comedy, musical, etc.) but strict time constraints apply, giving you 10 days of preproduction, then exactly 168 hours from the time cameras roll to film submission.
• Unlimited Documentary - where documentary producers can choose a verse related to the theme and begin as soon as the entry fees are paid
• Pure Animation - including 3D computer animated or stop-motion projects with animation or motion capture in each frame.  Producers may begin production immediately after Verse Assignment. Model or character development may begin one week before verse assignment, but no keyframing or animating may occur prior to verse assignment.
• Write of Passage Spotlight Film - where producers may bid on any available Write of Passage script and bring it to life. Production may begin as soon as entry is approved by 168 management.
• Student Film - where key personnel (producer, director, etc.) are active college or high school students. Their pre-production and production weeks may be altered if it interferes with school exams.
• Music Video (5 minute or less) - where the film illustrates or enhances a song
• "Making Of" Documentary Film (5 minutes or less) - Any team may create their own Behind The Scenes documentary and submit it for an award.

Q:  WHAT IS THE PROCESS IN A NUTSHELL?
A: The season starts with education and mixers to aid in team formation.  For Signature Speed Films, teams get a randomly-selected Bible verse which serves as the foundation for their story. No writing may occur before the verse is given. Verse Assignment marks the start of a 10-day pre-production period (writing, casting, locations and schedules). Cameras roll at a specific hour and final films are due 168 hours later. For films other than Unlimited Documentary, verse assignment is the same but production start times vary. All films must be submitted by the same turn-in time.  See Rules for details. All films are judged by our programming committee and then invitations to submit physical copies are given to official selections.

Q: I HEARD I CAN USE A WRITE OF PASSAGE SCRIPT.  HOW DOES THAT WORK?
A: Details on making a Write of Passage Spotlight Film are found in the WOP FAQ page.  Specifics about bidding on a script are found HERE.

Q: I CAN'T DO THE COMPETITION BECAUSE THE DATES DON'T WORK WITH MY SCHEDULE. ARE THE DATES FLEXIBLE?
A: Only if  you are a student who has a documented exam week conflict. Otherwise no the dates are NOT flexible. Remember,Student Films do not compete with the other Signature films and are ineligible for Best Film honors.

Q:  WHAT IS THE REFUND POLICY?
A:  Refunds will be pro-rated on the following schedule: More than 90 days out (from competition start) 100% Refund, 60 days out 50%, 30 days out or less, no refund. Team fees are not transferable. 

Q:  WHAT ARE THE DATES OF THE COMPETITION?
A: See Calendar.

Q:  WHAT DOES IT COST TO MAKE A FILM?
A: Production budgets vary greatly (that's like asking, "How much does a house cost?"). Teams spend from $250 to $15,000 with the average being around $1500 - $2000. All teams are responsible for their own budget, cast and crew.

Q: HOW DO I FINANCE MY FILM?
A: Beg, borrow and squeal, starting with your friends and family. We have tools for you to use in film fundraising. If you can affiliate (or are affiliated) with a church or other nonprofit, you may be able to offer tax benefits to donors. All producers are responsible for financing their own films.

Q: WHAT DO I GET FOR MY ENTRY FEE?
A:  Entry Fees include 2 All Festival Tickets, passes to the VIP Mixers, and a chance to be seen by our VIP Jury and to exhibit before thousands from the Hollywood Community. You also get: Team Promotion, Discounted L.A. Rentals, Safety meeting, Verse Assignment.

Q: HOW DO I GET ON A TEAM
A: First register or login to our Social page and join our Facebook and Twitter communities. See if there is a team in your area (Remember, you can compete from anywhere). If there is not, you can start one or see where the closest one is located. If you are new to this and just want to see what it's like, great. Very few teams will refuse your excellent, free help. You can also come to mixers in L.A. or to events in your town if available.

Q: I'M AN ACTOR, HOW DO I GET TO ACT IN A FILM?
A: All casting decisions are up to the producers/directors on the teams. We facilitate a casting day in L.A. Click here for more info. Teams in other locales often hold open auditions. These are sometimes announced on Facebook, Craig's List, local acting publications, or local newspapers. Local teams may also post casting announcements in our Social pages. Register or log in to check for opportunities.

Q: CAN I VOLUNTEER FOR 168?
A: Yes, we love our volunteers!  Inquire about positions. If you're simply curious about us, register at our free level and receive our email newsletter. This is our primary mode of communication.  You can also purchase an advanced registration and have access to our library of films. We use the most volunteers at the 168 Festival for everything from usher to stage tech. Contact us if you are want to help at this red carpet, gala affair.

Q: MAY I SUBMIT MY FILM TO OTHER FESTIVALS, PROMOTE AND SCREEN MY FILM BEFORE, DURING AND AFTER THE 168 FILM FESTIVAL?
A: Yes, you may submit to other festivals, but you must premiere at the 168 Film Festival. You cannot broadcast the film anywhere before our fest. You can and should make a trailer for your Website, YouTube, Facebook, Twitter, etc. to promote your film and your screening at the 168 Film Festival.

Q: IS IT HARD TO START A TEAM?
A: That depends on you. Are you willing to talk to everyone you know to get help, finances and prayers? Editors, Directors of Photography, Gaffers, and other technical positions are always in great demand, so hug an editor today-you'll be glad later.

Q: CAN I ENTER MY COMPLETED SCREENPLAY?
A: No. This is a production competition and so pre-existing screenplays cannot enter. All 168 films are to be created during the same time period. No, writing will occur before the Verse Assignment or the team is disqualified. Prior to verse assignment you may formulate ideas about genre and characters based on your available resources, but no writing may commence until you have received your verse.

Q: WHAT IF I WANT TO BASE MY STORY ON AN EXISTING WORK (BOOK, MOVIE, TV SHOW, OR EVEN WRITE OF PASSAGE SCRIPT)?
Almost every high concept has been done and so as the Good Book says, there is nothing new under the sun. All works are derivative of something, so what can you write on? Are spoofs/parodies ok? Yes! Is taking a script that is already written ok? No. When does one cross the line? The first year we had a film that was basically "Groundhog Day" with a homeless guy. While the idea was not original, the script and the implementation was original, and so it was ok. So for a Signature Film, as long as you are not using a previously existing script (including Write of Passage) or doing another episode (a serial) of an older 168 Film, you should be fine. Docs and, of course Write of Passage Spotlight films, are exempt from this rule.

We’ve added an “origin” field in the Film Information Database for you to disclose the inspiration for your film – a pre-existing book, story film or TV show, or an original idea. Please note if you are doing a parody or spoof. Remember if it is an exact copy of a pre-existing storyline, you are out of bounds.

Q: WHAT IS OUR PHILOSOPHY ON THE COMPETITION?
A: The 168 Film Project primarily about process and individual growth. Secondarily, it is about awards and competition. You are expected to abide by the rules and to conduct yourself in a way that is honoring to God and to your peers. The spirit of this competition is that you would trust that inspiration for the story will be provided based on your theme and verse. Scriptural Integration (how well your film expresses the original meaning and intent of the verse) is weighted heavier than any other judging category, so you would do well to study and understand your verse. A"spiritual advisor" is a good idea to help with the verse. Prayer is encouraged.

Q: HOW CAN I PREPARE IF I CANNOT WRITE UNTIL I GET THE VERSE?
A: Think of your production as an artist's palette. Your assets (or colors) are people and places and things you have access to: gear, set pieces, locations, actors, and crew members. Use these raw materials as colors to apply to your canvas once you receive the foundational verse. You are free to brainstorm story and genre, but no writing of script may occur before the verse is randomly selected.

Q: WHAT BUDGET LIMITATIONS ARE THERE?
A: There are no restrictions on budget. We are all learning and it is an honor for newcomers to work and compete with pros, and vice versa. Creativity and an excellent story will hold up very well, even against a big budget. Good producers are known for budgeting according to their resources and being frugal. A smaller budget will naturally expand your creativity and skills to become a better producer. The playing field is never level, and the bar should be high.

Q: WHAT ABOUT MUSIC?
A: You can use production libraries, buy-out music or even commercially-available music IF you can get clearance to use it (see below).  Rule of thumb: no rights, no use. To be eligible for Best Song or Best Original Score, your composer will sign a certificate stating that the music was not composed before Verse Assignment, and that music production (recording or digital audio construction) was not performed before the start of Production Week.

Q: WHAT IS THE PRODUCER DASHBOARD?
A: For convenience we've located everything producers need to manage their entry in one place, the Producer Dashboard.  The link appears beneath the menu when you are logged in as a "Signing Producer" (the one in charge.)  It contains everything you need to complete your film submission including full technical specs and visual assets you'll need to finish the film.  

Q: WHO IS THE "SIGNING PRODUCER?"
The "Signing Producer" is the person who logged in and purchased the entry in the Store.  You may have multiple producers on your team, but only one login will access the Producer Dashboard for the sensitive information.  You may share your login with those you delegate to fill in the forms, but guard that login so no one changes any details without your authorization. (We recommend changing your password after data entry if you delegate that task.)

Q: HOW LONG CAN FINAL PROJECTS BE?
A: Projects are a max of 10 minutes including credits and any head/tail logos. Your short can be any length up to 10 min, excluding the bars/tone and ID slate. (Write of Passage Spotlight Films using scripts from 2012 or earlier may extend to 11 minutes.)

Q: SHOULD I INCLUDE THE VERSE IN MY FILM
A: No, however you will add it to the end of your film as a post-roll tag.  You should build your story on the verse and you must also include your verse in the preroll slate.  the Producer Dashboard Mandatory Content page (login required).

Q: HOW DO I KNOW HOW LONG MY STORY IS
A: You should time the script by reading it aloud. Generally, one page is equal to one minute of screen time in Courier 12 point font on a formatted page.Any screenwriting program will handle this for you.

Q: CAN I SHOOT FILM?
A: Yes. Shoot in any format you like, but you must deliver a standardized digital file to our upload portal.

Q: HOW DO I SUBMIT?
A: Submission uploads are made through the Uploads Portal in the Producer Dashboard. When you log in as a Signing Producer, the link "Manage My Entry" will appear beneath the menu.  In the Producer Dashboard is the portal to upload your film and paperwork, the Team Information database entry form, the Film Details database entry form, and all the Production Forms for download. Please familiarize yourself with the Dashboard before production week!  NOTE:  The Upload Portal will not be availablle until just before Production Week.

Q: WHAT FORMAT IS REQUIRED FOR ENTRY ONLINE?
A: We require h.264 (MP4 or MOV) The Producer Dashboard has full guidelines (requires Signing Producer login). Our video provider does not accommodate PAL frame rates (25/50fps). If you are in a PAL country, frame rate conversion is necessary. See details on the Film Specifications page in the Dashboard.

Q: I PREFER TO SHOOT WIDER THAN 16:9. CAN YOU ACCOMMODATE 2.35:1?
A: If you prefer to edit in the wider aspects, please letterbox your project and deliver in a 16:9 square pixel raster, maximum 1920x1080.

Q: WHAT IS THE FORMAT FOR OFFICIAL SELECTIONS (TO BE SENT ON PHYSICAL MEDIA)? 
A: Projects chosen as official selections the the 168 Film Festival exhibition will be notified and invited to submit a high-bandwidth, low compression file in Apple ProRes or Avid DNxHD on hard drive or flash drive. PAL frame rates are accepted for festival screening. Selected films that do not submit the high-bandwidth version will be screened using the compressed h.264 version.

Q: ARE THERE OTHER REQUIREMENTS TO COMPLETE MY ENTRY?
A: YES: When you log in as a "Signing Producer" you will have access to your "Producer Dashboard."  See the "Manage My Entry" link that appears beneath the menu. In it you will find all you need to complete your entry.

Q: MY INTERNET IS VERY SLOW OR NON-EXISTANT, HOW CAN I SUBMIT MY FILM?
A: You will need to find an high speed Internet portal and arrange for the upload on turn-in day. If that is not available, with prior approval based on your circumstances, we may accept your film on physical media (flash drive or hard disk). . Extra handling fees may apply when submitting on physical media. Contact us to explain your situation.

Q: WHAT IS THE DEADLINE AND HOW WILL YOU KNOW WHEN A FILM IS SUBMITTED?
A: Films must be submitted online (see deadline HERE). Should your connection be lost or very slow, a digital photo of your monitor showing the time of the upload in process will serve as proof of your punctuality. The film's upload must be STARTED by the deadline. If the upload fails you have until midnight local time of Turn-In Day to complete the upload if certain procedures are followed.  These are detailed in the Dashboard. TEST YOUR UPLOAD CONNECTION SPEED PRIOR TO PRODUCTION WEEK!

Q: I'M IN SOUTHERN CALIFORNIA. ARE THERE EXCEPTIONS?
A: Yes.  You can participate in the two live events.  VERSE ASSIGNMENT NIGHT is held from 7-9PM on Verse Assignment day, and you can choose the verse from your team in a special ceremony.  Teams who participate in Verse Assignment Night will be required to turn in their films by 11am on Turn-In Day at the special TURN-IN EVENT, which will be webcast with great celebration.  SoCal teams will also upload their films, but will have until midnight of Turn-In Day to complete that task.

Q: CAN I SUBMIT MY FILM IN PERSON?
A: Yes and no.  If you are in Southern California you may turn in your film and paperwork at a live Webcast event with cheering onlookers and live interviews. The event will be in Burbank, CA, and the address and time will be posted before Production Week.  Teams submitting in person MUST ALSO upload their film through the Producer Dashboard.

Q: I've noticed T-shirt designs, logos and other things blurred out on TV.  Is all that necessary?
A: Yes, unless you get permission from the copyright/trademark owner. Plan your shots to not include any registered logos or designs. Create original, substitute graphics where necessary. But if you can work out a product placement deal to help finance your film, great! Just make sure to include a copy of the letter granting permission.

Q: How do releases work for semi-public areas - i.e. the lobby, elevators, etc of my apartment building? Do I need a release from my landlord, or is my release enough?
A: You should get releases whenever you can. All 168 releases are provided as examples.  You are responsible for your own legal work.

Q: What about releases for people in public spaces: street, public parks, etc.? What if someone happens to walk through the shot in the back ground, for example?
A: If you can recognize someone, you should try to get a release. Technically in a public place, people forfeit the "right to privacy." But we know of a videographer who was sued as a result of an inadvertant shot of someone having an affair that aired on a TV spot.  In the PRODUCTION FORMS section of the Producer Dashboard (accessible to registered producers) you will find a sample "General Public Release" sign you can print and post prominently around any area you plan to shoot.

Q: When are the releases due?
A: Releases are due with your finished film.

Q: Where do we get the release forms?
A: Example forms are available to registered producers in the Producer Dashboard. The link "Manage My Entry" appears beneath the menu when you are logged in as a Signing Producer. Remember, you are responsible for your own legal work.

Q: How/When do we submit the release forms?
A: Mail all forms or submit electronically. In the Uploads Portal, part of the Producer Dashboard is a link for uploading your paperwork, along with your film (separate uploads). Scan and combine all releases and other required paperwork into a single ZIP or PDF file, then upload it through this portal. You can also mail or fax them. Electronic Upload (portal, emal or fax) must be complete by end-of-day on Turn-In day.  Mail or Courier delivery must be postmarked no later than Turn-In day. You will be checked for complete paperwork. If you are on the bubble, inattention to detail or late delivery could cost you a lot.

Q: Do we need releases for music?
A: Yes, see the website for forms for original music.  If using library music, include a license from the library for the usage, with "168 Project" listed as an end user (client). 

Q: Can we use pre-recorded music or must it be created in the 168 Hours?
A: Only music composed during production week is awards-eligible for Best Song or Best Original Score.  You may use prerecorded music--but you must have the rights. There is such a thing as festival screening rights. it's best to get a composer and acquire the rights to their music. Original songs from your friend's band may be used - as long as they sign a release. Many composers are just waiting to be asked to participate. Royalty free buy-out music is acceptable, as is music from a music library. You will need to provide proof of license to make a minimum of 3,000 copies for library music. Using commercially-available "popular" (Christian or secular) songs, re-recordings of popular music, or even having an actor hum a few bars of a copyrighted song is not allowed unless special licenses from copyright owners are obtained. For more details on the required documents, cost and lead time for using copyrighted music, please see http://bzrights.com/101.htm.

Q: How will the films be judged?
A: Films will be rated by our programming department. Top films will become Official Selections and will go to our celebrity jury. See the criteria here.

Q: Can I enter from another state or another country?
A: Yes, However you must follow all the rules.  Deadlines give are at local time. Be aware that cities/states/countries have laws governing film production safety. Our Safety Guidlines, found in the Production Forms, reflect the law in California. Your state may differ. Check with your local film commission for rules regarding film safety in your community.

Q: Do we need to attend Verse Assignment night? How would we get the Bible verse from Zimbabwe?
A: Each team must have a phone or email link (if out of town) or have a representative present during assignment night (where the theme and verse is given). We will also post the verses on the website.

Q: What is the Safety Meeting?
A: You must attend the safety meeting or have a safety briefing with your team. You must sign a form to attest to the fact that the meeting was held. This is to help you avoid legal liability in production and protect your cast and crew.

Q: What about children on the set? What about Student Films with team members under 18?
A: Teams must obey laws covering obligations to report suspected child abuse, covering child labor, and covering child labor on film sets if children are cast as characters or are allowed on set as crew. UNDER NO CIRCUMSTANCES shall children unsupervised by responsible adults (parent/guardian) be allowed on film sets. For STUDENT FILMS with cast or crew under age 18, we highly recommend teams form under the auspices of a church or school, and that supervising adults be vetted through that organization’s qualified Child Sexual Abuse prevention program.  TEAMS ARE SOLELY RESPONSIBLE FOR SAFETY OF CHILDREN ON THEIR SET.

Pure Animated Projects are defined as having motion capture or animation in EVERY frame. Only Pure Animated films may build models and create characters early, beginning one week before the Verse Assignment. Absolutely no animation or key framing etc. will occur before Verse Assignment. Pre-existing/purchased digital assets are not eligible for awards. Pure Animations are not restricted after Verse Assignment except for meeting the turn-in deadline. Pure Animation will compete only in it’s own category.

Live Action/Animated/Effects Hybrid Projects. These films combine synthetic elements and live action. For the contest, all CG Effects and Animation, etc. is considered a part of live action (thus subject to the signature speed film production schedule and NOT to the Pure Animation rules). These assets include Motion Capture, Plates and Virtual Sets. They MAY be planned after the Verse Assignment, but you MAY NOT shoot or do work on any of these elements before your Production Start. (Otherwise you can’t compete for Best Film because it wouldn’t be fair to others).

Unlimited Documentaries will use the 168-determined theme like all other entries, but they will SELECT THEIR OWN ERSE AND SUBJECT with regards to content rules. Upon payment of registration fees, completion of the contract, and registration of a self-selected verse, producers may start production without restriction (max. length 10 min. including everything). Unlimited Docs will compete within this special category. The best films will screen in whole or in part as determined by 168 management. Previously-completed documentaries are not eligible, but previously started films are ok.

Any of these projects may also be eligible for the Evangelista Award.

Details on Student Films

The Student Film a category defines films in which key personnel (producer, director, DP, editor) are active college or high school students who perform the work.  They can be supervised by a team of adult advisors. All Signature Speed Film rules apply, but because we want student entries, their start and deadline can flex for conflicts such as exams. Student films compete within their own category.

Q: What is meant by "adult advisors?"
A: The biggest problem we have in doing a student category is that often the film is not made by students.  So, we have rules to ensure that it is in fact a student film.  Whether they are high school or college doesn't matter, but all of the key positions (i.e. producer, director, DP, editor) must be filled by students, who will perform the work. Since students are typically learning and in need of help, they may be managed and mentored by adult advisors, who will have more experience and may be professionals.  If the student producer is under 18, an adult MUST serve as the Signing Producer, who is the primary responsible party. (The student producer would be listed as Producer in the Team Information/Film Information database.)

Q: How many student films are typically submitted? 
A: We do not get a lot of student films, so the category is winnable for a good team.

Q: What is the procedure for extending deadlines or start times?
A: After purchasing a team entry, student film producers will email 168 management with proof of schedule conflict sent as an attachment, or as a link to the school calendar.  Students will be contacted and schedules arranged similar to all other Signature Speed Films.

Q: Are the same competition categories used (best film, best director, etc)?  What awards are given for student films?
A: If a student film follows all of the rules and set start and deadline times, then it is eligible for all awards.  Those films needing any schedule modifications will compete only for Best Student Film and Audience Favorite. Students can also produce a Making-of documentary (for award consideration), which is due one week after the submission deadline.

Here is the 168-SAG/AFTRA 2013 Rider:

Short Film Agreement:

    Total budget of less than $50,000
    35 minutes or less
    Salaries are deferred
    No consecutive employment (except on overnight location)
    No premiums
    Allows the use of both professional and non-professional performers
    Background performers not covered

ALL PAPERWORK IS DUE WITH YOUR COMPLETED FILM.  This means original signed copies sent to: 145 S. Glenoaks Blvd. #159 Burbank, CA 91502. 168 will then forward to SAG-AFTRA.

Please contact us or SAG-AFTRA with any questions.

RIDER:

168 FILM PROJECT (Effective May 1, 2013 through June 30, 2013)

1) Given the nature of the project, no script will need to be submitted to SAG- AFTRA.
2) No security deposit or financial assurances will be required.
3) The Short Film Letter Agreement will cover all professional performers providing services in the project.
4) Performers may not work more than 12 hours in any day. A meal break of at least 30 minutes but not more than 1 hour will be provided no later than 6 hours after call time.
5) Performers may not be recalled to work without a 12 hour rest period.
6) Since the project is being produced as part of the 168 Hour Film Project, it is understood that Producer is assigning certain distribution rights to 168 Film Project, who may exhibit the film as part of a compilation with no monies due performers to the extent agreed with SAG-AFTRA.
7) 168 Film Project may show the film on the 168 Film Project Website provided that it is not downloadable.
8) Producer may not distribute or exhibit the film without prior negotiation with SAG-AFTRA.