Where next for the IAC?

[Dave Watterson]

Thanks for the info, Howard. I did not have time to unearth detailed prices when I responded to Geoff's message.

We are looking forward to Birmingham and being in the Crescent Theatre itself, rather than the small downstairs studio - as we were for the first sessions in recent years.

BTW I understand Jim Walker has booked a fish-and-chip supper on Friday night but has found his transport will get him there too late for it. So if anyone would like his ticket ... it may be for sale!

[Geof Caudwell]

Thanks, Dave and Howard.
When I have decided on my length of stay and mode of transport, I'll take your advice and use Trivago or another. The prices I found were from booking on the Premier Inn website for a weekend in March, just to see what the price was like.

[tom hardwick]

What a great chain this post has turned out to be. It could almost be copied verbatim and given 3 pages in FVM. In fact I wonder how many readers of FVM have read this forum post? I bet about 10 tops.

[Michael Slowe]

Tom, why do you think that is? No time, no computer, not knowing it exists, not interested?

[edin]

Numerous filmmakers globally are more focused on leveraging film festivals to showcase their short films, aiming for recognition by production companies to further their careers. The Edinburgh Cine & Video Society has experienced significant growth, expanding from 12 to 56 members within the past year. Despite this growth, there has been a lack of interest in joining the IAC or participating in the BIAFF, though this could potentially shift with enhanced marketing efforts from the IAC. Our current membership tends to attract young, enthusiastic independent filmmakers without ties to traditional clubs.

Many have been drawn to the society seeking camaraderie with fellow filmmakers, finding that the shift towards remote work and the impacts of Covid-19 have led to a sense of isolation, underscoring that online networking doesn't fully meet everyone's needs.

The true test will come in September with the renewal of memberships, and there's concern that up to half of the new members from the previous year might not return. This suggests that the appeal of amateur filmmaking may be waning, highlighting the necessity for the society to adapt and meet the evolving needs of independent filmmakers to remain relevant and thriving.

[fraught]

Perhaps we need to make BIAFF entrants aware that the competition can only survive if more of them become IAC members.

I'm gonna make my suggestion again (which I have done a number of times in the past)... I've always said that written feedback on a BIAFF entry, should be provided to IAC Members only. BIAFF is one of only a handful of festivals in the world that provide written feedback for free, in fact it might be the only one. Some festivals charge a premium for written feedback, most don't provide it at all. If we ask people to become a member for this amazing perk, I reckon our membership numbers will increase. Maybe not by a huge number, but I think it's worth doing.

Hello everyone! Been a while since I last commented...

[Martin Evans]

I'm gonna make my suggestion again (which I have done a number of times in the past)... I've always said that written feedback on a BIAFF entry, should be provided to IAC Members only. BIAFF is one of only a handful of festivals in the world that provide written feedback for free, in fact it might be the only one. Some festivals charge a premium for written feedback, most don't provide it at all. If we ask people to become a member for this amazing perk, I reckon our membership numbers will increase. Maybe not by a huge number, but I think it's worth doing.

Agree entirely

[Dave Watterson]

The IAC is a registered charity.

People tend to forget that. It does not exist to give its members special treatment. Its purpose is to be educational for the general public who are interested.

For that reason it would be risky to give the critique service only to IAC members.

The crits (for better or worse) are a significant part of our educational work. The competition rating and commentary is intended to educate the entrant and help them improve their work. Yes, they are sometimes clumsily written and even trite ... but the best ones try hard to point the film maker towards things they may not have noticed about their film in the sheer work, rush and panic of completing it.

There are probably commercial crit services that will, for a fee, comment on your film - just as writers of novels and stories can buy such commentaries. In effect you are receiving the BIAFF ones free.

[fraught]

That's a fair point Dave.

I do think it's worth investigating though. We're still providing people with a rating regarding their work, maybe non-members get a limited critique, with members getting a fuller one? Just thinking of ways to encourage people to become a member, and I do feel the crown in the IAC jewel is the way to keep membership healthy... is there another aspect to BIAFF that we can use to encourage new membership? Maybe the providing of the Certificates?

[TimStannard]

Looking at Geoff's point from another angle, in the past two or three years, IAC members have been given free entry, as have club films, before a certain date, so to a certain extent membership gives you free write-ups whereas non-members have to pay.

The potential downside to this free submission - that is any old rubbish is enetered - doesn't appear to have materialised except in very few cases.

[Michael Slowe]

I don't think that the problem is solely related to costs. The problem is that clubs and formal establishments seem to be going out of fashion. People prefer to associate with their friends on an informal basis rather than join a club. Film makers are forming small groups and meeting in pubs. I don't see where their productions are to be seen, on line I presume, unless they are lucky enough to gain a screening at a festival. That's where BIAFF should be fulfilling a vital role. Publicity carefully focussed should be the answer, but I'm not sure how. Schools, particularly film and art schools must be the target, that's for sure. We have to get closer to the budding professionals, that, in any event, would help us raise our film making standards. The old horror of being tainted by 'professionals' should have vanisehd decades ago.