Some of the best ways of getting information are networking-oriented, such as having conversations at film-related events, festivals and conferences. But when you are unable to make it to a face-to-face meeting place or you are just starting out, there are some excellent online resources that can help you start building relationships and getting the help you need.

The D-Word: This documentary-oriented site, started by filmmakers Doug Block and Ben Kampas, is a forum for documentarians of all kinds, with a welcoming and active population of participants.

IndieTalk- Funtional if basic forums for low-budget filmmakers

DV Creators- Primarily tech-related discussions about HD-production and post

Creative Cow Final Cut Pro Discussions- Newbie to uber-geeky FCP info

Filmmaker Magazine Forums- Not heavily used but could be useful

Celtx Forums: The excellent free scriptwriting software maintains forums on a variety of film topics

Vimeo Forums- The online video site has forums that can assist with online video issues

Do you frequent other online discussions? Let us know in the comments.

Broadband Issues for Content Makers helps film and video makers understand some of the issues around Broadband and ‘Net Neutrality’ and how they specifically impact independent producers.

Live! Nude! Audience! takes YOUR submission to be instantly reviewed by our crack team of experts and evaluated for marketing and outreach opportunities. You’ll get to see the process in action for your own film or discover the best ideas to use for future projects. And of course, we’ll be naked.

I’m fond of old fashioned things, but the attitude that some things should be above the mass market is beyond stodgy. It’s simply unrealistic to suggest that certain things should be kept in box A or B when the way we access most cultural information is boundless. Any way to help certain films or books or conceptual art projects reach an audience has value.

Boundless access also means that no matter how many resources go into OWN, it does not “hurt” other films. It’s much more likely that increasing documentary awareness among Oprah’s audience will allow other filmmakers with subjects or styles appropriate for the OWN audience to take advantage of the marketing going into the general programming.

And filmmakers who are seeing the license fees OWN is paying are likely not unhappy, either.

When new things come along, try exploring how the new thing can be useful before trying to put the cat back in the bag. Pet the cat a little.

In film, a technology that in its “old fashioned” celluloid form is only a little over a century old, the future is unpredictable— but it is fairly certain that the future is significantly different than it is now. There is no reason to believe the medium (celluloid) will survive, no reason to believe there will be a tangible product associated with motion picture, no reason to believe running times will continue to hover in the 74-130 minutes range. That a business once existed for something is not a reason it will continue. If there is a demand, there will be ways to meet it. If the barriers are low and there are benefits for the producers, films will be made and disseminated regardless of business models.

Most importantly, we can’t predict how people will find ways to make things that are very good and not end up on welfare- unless welfare turns out to be very comfortable. But I would put my money (if I had any) on quality continuing to be something that will be supported somehow in whatever improbable future we may encounter.

Can freedom produce quality? An ongoing debate. (A better example for “economies without money involved/being important” than romantic relationships may need to be cited…)

Filmmaker Jen Gilomen will be on hand to talk about her film DEEP DOWN and we will talk specifically about projects in the room as well as about digital marketing and distribution tools doc filmmakers can use today.

As filmmakers, we face specific privacy issues. For example, the MPAA may take the RIAA route and start trying to look at people’s hard drives in the name of enforcing copyright restrictions. I’ve spoken to several documentary filmmakers who face challenges in making and marketing their films because the globally ubiquitous nature of dissemination now means they can not protect subjects when being seen in the films would put the subjects in danger. And filmmakers need to know what the boundaries are as they become more creative in trying to build their audiences.

So, Ted, in absence of panels, maybe we can begin to discuss the issues now.

Artists, particularly media and film artists, are at the mercy of this system since control of bandwidth is one of the few legal, effective approaches corporate media owners have left to enforce monetization of their products. This is how people access our work. We should be doing more than just demanding regulation or change, we should be actively seeking alternatives to the current broadband bottleneck. (And if my experience is anything to go on, 3G/4G wireless is not the solution).

On Saturday, Pratt hosts Copy/Right(?) a symposium about copyright, creative commons, fair use and library science. Good Times!