PUBLICATIONS MANUAL

FOR THE
SUNDANCE FILM FESTIVAL

Compiled by Barbara Bannon

Updated January 29, 2016

This manual describes the approaches and methods that have proved useful in past
Festivals. It should be updated as changes occur to the Festival publication process.

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CONTENTS
Editors Overview
Publications
Film Categories
Publications Timeline
Content Map
The Editing Process
Quick Style Sheet
People to Know

Technical Guides
FileMaker
ProofHQ
Google Docs
HTML Tags

Editors Instructions by Content

Front and Back Matter
Synopses
Juror Bios
Director Bios
Capsules
Contact Information
Offscreen
Indexes

Editors Instructions by Publication

Printable Film Guide PDF
Digital Program Guide
Printed Film Guide
Catalog
Other

Appendix: Names of Awards, Schools, and Festivals

Instructions for Editing Manager

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EDITORS OVERVIEW
Publications
Film Categories
Publications Timeline
Content Map
The Editing Process
Quick Style Sheet
People to Know

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PUBLICATIONS
Publications are a vital part of the Sundance Film Festival, and editors help ensure that all Festival
publications contain the correct information, use clear language and proper grammar, and conform to
Sundance Institute style. The main publications of the Festival, and what the editors will be spending
most of their time on, are the film guide and the catalog.

FILM GUIDE
The Sundance Film Festival Film Guide is a small booklet that includes very short film descriptions
(called synopses). The film guide is not meant to give attendees in-depth information about each
films content; rather, we expect audiences to read the more detailed information online beforehand
and then use the film guide during the Festival to jog their memories.
There are two versions of the film guide: printed booklet and printable PDF. They are essentially the
same thing, just in different formats.

PRINTED FILM GUIDE

The printed film guide is given out for free to all Festival attendees. In addition to the synopses, it also
includes the schedule and information about logistics and Festival events.

PRINTABLE FILM GUIDE PDF

The printable film guide PDF is posted online so people can print their own film guides at home. It is a
simplified version of the printed film guidebasically, its just the synopses and schedule. This is the
first thing we publish (but we continue to post new versions as we get updates).

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THE GRID
The grid is a master schedule of all films playing at the Festival. This is a big project in and of itself
because we need to check all of the information for every screening. There are three versions of the
grid: one for the printable film guide PDF, one for the printed film guide, and one online.

CATALOG
The Sundance Film Festival Catalog is the 300-page, full-size book that includes all of the long film
descriptions (known as capsules), as well as director bios, juror bios, event descriptions, and
information about Institute programs. Catalogs are a collectors piece and are sold in Festival stores.
All the information in the catalog is also available online and on the Festival app.

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DIGITAL PROGRAM GUIDE (DPG)

The digital program guide is basically the web version of the catalog. It includes all the same
information as the catalog, but it also includes any updated information we get after the catalog was
printed. The information online gets pulled automatically from our database, so as we make any
changes, it will update automatically.

The DPG includes a web version of the grid:

OTHER FESTIVAL MATERIALS

Editors will also work on other Festival materials, including:
Press and Industry (P&I) Guidea small pamphlet given to press and industry professionals,
with a schedule of press and industry screenings as well as information about events and
resources available exclusively to P&I people.
Festival Transit Mapa guide to transportation information.
Marketing emails, splash pages, credentials, postersanything with words on it.

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FILM CATEGORIES
The following is a list of all Festival film categories. The editing manager will split up the categories
evenly among the editors, and you will become the point person on everything that concerns the films
in those categories from submission to the time they appear in the Festival.
(All films in competition categories are competing for awards.)

U.S. Dramatic Competition

(16)world premieres of U.S. narrative feature films
U.S. Documentary Competition
(16)world premieres of U.S. docs
World Cinema Dramatic Competition
(12)narrative features from outside the U.S.
World Cinema Documentary Competition
(12)docs from outside U.S.
Premieres
(18ish)world premieres of narrative films (that arent in competition)
Documentary Premieres
(12ish)world-premiere docs (that arent in competition)
NEXT
(10ish)particularly bold/forward-thinking works that take an innovative approach to
storytelling
Spotlight
(10ish)films that have already had their premiere and did really well
Special Events
(10ish)Special Events may include a premiere of an upcoming series, an event based
on a popular film (such as live commentary on a classic film by the director and actors), a
multipart screening, or anything else that doesnt fit into the standard film categories
From the Collection
(13)classics from the Sundance archive that have been restored
Sundance Kids
(3ish)films for kids
Midnight
(8ish)horror
Shorts Programs
(9 programs, 60ish films)short films. These are organized into 9 different programs
of just shorts. (There are also a few shorts that are instead paired with a feature-length film,
playing right before the feature.)
New Frontier
(depends on yearcould be over 50)New Frontier is focused on media
technology/virtual reality and involves many different things, not just filmsthere are
performances, virtual reality experiences, art installations, and panel discussions.

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PUBLICATIONS TIMELINE
The following is a general idea of when materials will be coming in and what order they will need to
be edited in (but the publications manager will give specific deadlines). Detailed instructions for each
piece of content are included later. Note that the first thing we publish is the printable film guide PDF,
followed by the printed film guide, and then the catalogso prioritize content in that order. (Anything
that is online-only should come last.)

1. FRONT AND BACK MATTER

The front and back matter for the printed publications will trickle in at different times. It will come
from the publications manager in Google docs.

2. SYNOPSES (and credits/cast/additional film info)

The first main thing that we will be editing is the synopses. These are the short film descriptions that
go in the film guide (the free pocket guide distributed at the Festival). We dont have any creative
input on these summaries; its just a very light copyedit/proofread for grammar issues. The synopses
have a very quick turnaround (12 hours), and along with each synopsis we also have to check the
films cast, credits, and additional film details (year, color, country, subtitles, language, etc.).

3. JUROR BIOS
Juror bios will trickle in sporadically. We have plenty of time to get them done, since we dont need
them until we print the catalog, but try to do them in a timely manner so the jurors have enough time
to approve them.

4. DIRECTOR BIOS
Director bios will likely be ready relatively early, and though we dont need them until the catalog, you
should get through as many as you can if you ever have extra time. These take a lot of time since
there are so many, and we dont end up having much time to get them done after we finish all the
other materials. (However, the bios for the directors of SHORT films take the lowest priority, since
theyre only published online and not in any print materials.) Note: Edited director bios do not need to
be approved by directors.

5. CAPSULES
This is the funnest part of the job. The capsules are the long descriptions that go in the catalog and
online, and you get to work with the writers (programmers) and give some creative input. Youll need
to allow time for some back-and-forth with programmers, so take that into account when planning for
meeting your deadlines.

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6. GRID (two versions)

Theres a grid for the printable film guide PDF and one for the printed film guide. Well proof each
version of the grid after it is designed. Then, as changes to run times come in (which will happen a
whole lot), we will have to add changes and reproof both versions of the grid.

7. PRINTABLE FILM GUIDE PDFDESIGNED PROOFS

Once all the content for the printable film guide PDF is edited, the designer will lay it out, and then
well proof it before posting it online. (Note: As we get updates, we will post a new PDF online.)

8. WEBSITE LAUNCH
Around the same time we post the PDF, we also launch the website, or digital program guide (DPG),
which includes all the capsules, film details, and director bios. We may not have enough time to
thoroughly edit every single director bio before we launchthats fine, but keep editing those to get
them done as soon as possible. When the website launches, well want to check that the content is
appearing correctly on all the film pages, and well want to scan through the grid as well.

9. CONTACT INFORMATION
Very small detail here, but before the catalog gets designed, we need to go through the contact
information for each film (which will be included in the catalog and online) to make sure phone
numbers conform to our style and to proof for any other issues.

10. OFFSCREEN CAPSULES

Offscreen refers to non-film events such as live music and panel discussions. We start editing
Offscreen capsules for the film guide and continue to edit more as theyre added. (Not all the
Offscreen capsules make it into the film guide. Most make it into the catalog. All are online.)

11. PRINTED FILM GUIDEDESIGNED PROOFS

Once we edit all the content for the printed film guide, the designer will lay it out, and well do a
couple rounds of proofs (including other departments looking at it) before going to print. This includes
proofing any new content that we didnt see before the film guide was designed, as well as proofing
the index.

12. CATALOGDESIGNED PROOFS

Once we edit all the content for the printed film guide, the designer will lay it out, and well do a
couple rounds of proofs (including other departments looking at it) before going to print. This includes
proofing any new content that we didnt see before the catalog was designed, as well as proofing the
index.

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13. PRESS AND INDUSTRY GUIDE

This comes in after the mad rush to print the catalog and is pretty short and straightforward.

14. OFFSCREEN BIOS

Bios for panelists of Offscreen events often come in very late, some even after the Festival begins. We
edit them as they come in. These only go online.

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CONTENT MAP
Heres a quick guide to what content goes where. Note that the first thing we publish is the printable
film guide PDF, followed by the printed film guide, and then the catalogso prioritize content in that
order. (Anything that is online-only should come last.)
Content
synopses (short summaries)

Film Guide
PDF

Printed FG

Catalog

DPG (online)

only shorts

only shorts

juror bios

director bios
capsules (long summaries)
(Short films do not have
capsules)
grid (3 different versions)
Offscreen capsules

X
most (whatever is
ready in time to
print)

Offscreen bios
Film Guide additional content:

all but shorts

X
X

only Power of
Story

Front matter:
Institute and Festival
blurbs, Festival Host State, sponsors, Day
One, Salt Lake City Gala, Closing Night,
The Films page
Category title pages
Back matter:
Sponsor Venues and
Activities, How to Fest, Institute
Supporters, index

Catalog additional content:

Front matter:
welcome letters, long
Sundance Institute blurb, board
members, sponsors, Institute supporters,
blurbs about each Institute program, ads,
award descriptions, overview of
categories, The Films page
Category title pages
Back matter:
shorts filmmaker
headshots, ads, in memoriam, staff and
volunteers, index

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THE EDITING PROCESS

CATEGORIES
Each editor will be assigned a few categories of films. That editor becomes the point person on
everything that concerns those films from submission to the time they appear in the Festival. All the
information on each film and any changes that need to be made should go through that editor. That
editor is also responsible for completely proofing all information on those films before the exports
from the database occur for the film guides, digital program guide, and catalog.

USING LAST YEARS MATERIALS

Read through last years materials, and always keep them on hand to make sure were being
consistent. However, also keep in mind that last years team could have made mistakes or
inconsistencies, so use your best judgment and consult with the editing manager when youre unsure
of something.

PROOFREADING
Every document that is edited needs to be proofread, so a proofreading chain should be set up. The
easiest way is just a circle: A proofs B; B proofs C; C proofs D; D proofs A.
When we start proofreading designed pages, we will basically just be making comments on a PDF.
Every time you have edits like this, you must follow up and see the clean version, after the designer
has input your edits. Youll want to go through the old version and check, edit by edit, that everything
was done correctly. This is not a matter of not trusting the designer enoughits simply good editing
practice. There is a lot of room for error in these situations, and you want to make sure that the
designer understood your edits correctly and that they didnt accidentally introduce any new errors in
the process.
Also, if you make changes late in the game, you are responsible for making those changes in all
materials where that content appears. For example, if you catch a typo in the designed pages of the
film guide, you must go back and make the change in the database and make sure you also change it
in the catalog.

SPREADSHEETS
For every process, the editing manager or publications manager will create a spreadsheet to track our
work. Please keep these spreadsheets updated at all times, and use it to make notes about any
exceptions, problems, or anything you need to remember for each film.

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OVERALL EDITORIAL APPROACH

The editors need to be familiar with three principal sources of information. The first is the
Chicago
Manual of Style,
currently in its 16th edition. The manual can be accessed online at
chicagomanualofstyle.org
, but you need to sign up for a subscription. The second is the
Merriam-Webster Collegiate Dictionary,
currently in its 11th edition, which can be accessed online at
m-w.com
. Use of the dictionary and the thesaurus is free. Finally, the thirdand perhaps the most
useful for Festival editorsis the Sundance Institute Language Guide, which can be accessed on the
Sundance website. The language guide is updated each year and basically summarizes the parts of the
Chicago Manual of Style
that editors use the most often.

LANGUAGE GUIDE
Make sure you read the language guide on your first day of work. Then read it again. On your second
day, read the language guide. Then read it again. (You get the idea.) The language guide answers so
many questions, but you wont retain it all with just one pass. Read it. And anytime you have a
language-related question, search the language guide first. Same goes for the publications manual.
Read and reread this, and if you have a question about processes, check here first before asking
someone else.

QUESTIONS
If youre not sure of something, PLEASE askespecially if its an editing question that will come up a
lot. Theres no detail too small for us to discuss, and we need to ask questions early on and make style
decisions so our materials are consistent. Sometimes editors may be embarrassed to ask something,
but if you ignore a problem, it will probably come up later, and it will probably cause even more
problems. The other editors are here to help. Dont worry about asking dumb questionswe need to
care more about getting it right than about looking smart individually.
However, that being said, do not ask questions that you could answer yourself, like how to spell a
word. Before you ask a question out loud, ask yourself if its something you could find in the
dictionary, pubs manual, or style guide.
Sometimes the answer isnt in our style guide but is in
Chicago
. In that case, try doing a search on
Chicago
online and see if you can find the section you need. If you dont know how to describe your
problem and dont know what terms to search for, ask one of the editors whos more familiar with
Chicago (or grammar terms in general) what keywords to look up.
*
Chicago
tip: Even if we dont have access to
Chicago
online, you can still search for keywords online,
and it will tell you which section your answer is in. Then you can look it up in your hard copy.
Please take care not to interrupt the other editors with every question you have at any timeit gets
incredibly frustrating to have to drop everything for everyones questions. Perhaps editors should
keep track of all their questions and then, after a certain period of time, schedule a chunk of time to
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work with the lead editor. Especially with capsules, which are in Google docs, theres no need to blurt
out a question at every turn. You can easily make a comment on the document and then, after youve
completed your first edit, your second editor can take a look. Then they can see all your questions in
an organized way. At any rate, be mindful of others time, and try to be considerate.

QUICK STYLE SHEET

Heres a quick summary of some commonly used sections of the language guide. For any other
questions, refer directly to the language guide.

Capitalization in Job Titles

Only capitalize titles when they are part of and precede a persons name. Otherwise the titles should
be lowercase.
Examples: Sundance Film Festival Director John Cooper, but Keri Putnam is the executive director of
Sundance Institute.

Comma in a Series
Use a comma before the final item in any series. This logically marks the parts of the series off from
one another.
Examples: The Festivals documentary program is composed of United States documentaries,
international documentaries, and documentary premieres. Would you like to write, edit, or proofread
capsules for Festival films?

Numbers
This is a variation from Chicago. Write out all single-digit numbers and use numbers for 10 and
everything above it. However, if numbers can be rounded off and are not cumbersome, write out the
numbers. Numbers at the beginning of a sentence should always be written out.
Examples: There were eight filmmakers who participated in the Sundance Institute film tour. More
than 220 guests attended the event. The Sundance Film Festival receives thousands of film
submissions each year. I think that more than a hundred people attended the party. Sixty-six
filmmakers sent in scripts to attend the special screenwriters session.

Prefixes
Prefixes are generally spelled solid. If you have questions about what constitutes a prefix, refer to the
dictionary. Some common ones are
anti, mid, multi, non, over, re, semi, sub,
and
un.
However, there
are a few exceptions. One is
co;
because the credits of films hyphenate
co
credits, we also do that.
Examples: Co-author, co-director, co-producer, co-sponsor
Another one is
pre;
we hyphenate these to make them easier to read.
Examples: Pre-election, pre-production, pre-screening
The other one is post, again because of film terminology; the principal example is post-production.

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All prefixes should be hyphenated if they make the resulting word difficult to read. Check with the
dictionary if you are confused when to hyphenate and when to spell solid.

Spacing between Sentences

Do not double-space between sentences. Check capsules very carefully because several of the
programmers use two spaces instead of one.

Titles of Works
Use italics for the titles of films (including short films), plays, books, periodicals, newspapers, and TV
and radio series. Use quotation marks for the titles of unpublished works, including screenplays that
are in process and havent been filmed yet, individual episodes of TV or radio series, and articles in
periodicals and newspapers.
Examples:
The Godfather III, Gopher Broke, A Delicate Balance, Under the Banner of Heaven, Atlantic
Monthly, New York Times,
NYPD Blue,

and
All Things Considered.
New Years Day, Todays Suggested Agenda, Under the Chestnut Tree. Note that commas and
periods go inside the quotation marks.

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PEOPLE TO KNOW
Database Manager
Jacqueline Miller can answer any questions or solve any issues you have regarding our database,
FileMakerbut please check this manual for answers before asking her. In general, questions for her
should go through the publications manager.

Film Office Coordinators (FOCs)

The Film Office has direct contact with the filmmakers. FOCs will be your main contact for questions
on synopses, titles, casts, credits, and additional film info (such as language, subtitles, color, country,
etc.). If you see any discrepancy or if theres a factual error in a synopsis that you need clarification
on, contact the FOC. Take care to always keep the FOC involved if you are making any changes other
than the standard editing/proofreading things. They are in close contact with the filmmaker and can
tell you if the filmmaker has particular preferences that you should try and abide by.

Press Office Coordinators (POCs)

We dont work too much with POCs, other than them notifying you when synopses are ready and
following up if youve missed your deadlines on those. But its a good idea to keep them in the loop
when discussing anything that might affect their films.
Each of the FOCs and POCs is assigned to different film categories. In your first couple weeks,
introduce yourself to the FOCs and POCs who will be working on your categories. (Youll most likely
have a video meeting with everyone here in Park City and in LA.)

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EDITOR TRAINING
Headline-Style Capitalization (
Chicago
8.157)
Need practice exercises on this.

Hyphens
chicagomanualofstyle.org/16/images/ch07_tab01.pdf
need more on this

includes, such as (no colon)

misplaced modifiers, dangling participles
premier vs. premiere
s possessive
commas before dependent clauses noooo
virtual reality never hyphenated, never capped
executive-produced
hyph only when ambiguity likely
chicago hyphenation table pdf
date/time stylesesp. Offscreen
If text is in italics, movie is roman
Here are a couple of things to note:
St., Ave., and Blvd. are abbreviated in addresses throughout, but East, West, North, and South
are spelled out, e.g., 876 East 900 South. In the text, spell out Main Street and other locations.
Be sure to use en dashes, not hyphens, in all the dates: January 22February 1.
Phone numbers are done with the area code in parentheses: (435) 776-7878.
Waitlist and pickup (as in ticket pickup) are all one word.
En and em dashes butt up against the type; there are no spaces between them and the text,
e.g, all patronswhether ticketed or credentialedmust adhere to the following
guidelines.
There are periods in a.m. and p.m.

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TECHNICAL GUIDES
FileMaker
ProofHQ
Google Docs
HTML Tags

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FILEMAKER
Opening FileMaker
Project Records

Special Characters
wedf
fdfs

Project Records
Editors List

FileMaker is the database where we store all of the information on Festival films, people, and events.
Basically, FileMaker is the Festival Bible, and we do much of our editing directly in the database. Here
are some tips to get you started. For more detailed information, see the
Editors Instructions by
Content
section.
Note: Whenever this manual says films, it usually also refers to New Frontier art installations/virtual
reality experiencesanything in one of the categories described earlier.

OPENING FILEMAKER
1. Go to
apps.sundance.org
2. Click the FileMaker icon.

3. A table of contents will open. Click

FILMS
.

4. The
List View
will open, showing an alphabetical list of all films.

List View

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PROJECT RECORDS
NARF RECORDS
Youll notice that in this List View, there are some film titles that begin with the acronym
NARF. NARF
stands for not a real film. As the name implies, NARF records are not real records. They are practice
records for us to play around with so we can learn how to use the database, and the database people
also use them to do testing. So as youre learning how to use the database, make sure you only
practice with NARF records.

OPEN A PROJECT RECORD

From the List View, click on a film title to see more information about it (pick a NARF record).

This will open up a

project record
. This is where all the information for each film is stored. Each record
includes the synopsis, capsule, cast, credits, director bios, screening times, contact information, and
everything else youd ever need to know about a film.

Project Record

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SCROLLING
One weird thing about project records is that you cant scroll using the scroll wheel on your mouseif
you do use the scroll wheel, you will scroll to the next film record altogether. To scroll on this screen,
you can either click and drag the regular scroll bar or click on the blue bar at the right.

TABS
In each project record, there are multiple tabs, each with different information. Editors will mainly be
working in the
Publication Information
and
Additional Film Info
tabs.

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Publication Information
This tab includes the final synopsis, capsule, director bios, cast, credits, and
additional film details (such as language, country, and year). Well edit much of the information
directly in this tab.
Additional Film Info
The Additional Film Info tab is where well actually be editing the synopses.
(Once each synopsis is finalized, itll show up in the Publication Information tab.)
Activity Log
This tab logs all of the changes that we make. For example, if you want to see the
original version of a synopsis, you can view it in the Activity Log.
Note: Because the Activity Log tracks every single one of your changes, be judicious in how many times
you make a change and hit
Save
. The more activity there is, the harder it is to find the version were
looking for. Try to edit synopses in a single pass if at all possible.
Contact
This tab gives the contact info for the filmmaker or company so that people can contact
them after the Festival to schedule a screening.
Screening
a list of all Festival screenings of this film

OTHER PARTS OF A PROJECT RECORD

Here are a few other helpful parts of the project record.

1. Screens With
If a short film is playing with a feature film, this section will tell you the title of the
accompanying film.
2. Section
the category this film is under
3. Run Times
The films run time is shown in two formats on the top line: 1) hours and minutes and
2) just minutes. The second line (Program Run Time) shows the run time for the entire
program
so if
a short is accompanying a feature film, this area will show the combined total of both films.
4. Press Office Coord.
and
Film Office Coord.
This section tells you who your POC and FOC are.

FIELD GUIDES
All field labels and some fields have helpful guides that tell you more information about what should
go in the field. To access this information, let your mouse sit on the field, label, or text, and helpful
information telling you exactly what the fields requirements are or the next step you need to take will
appear.
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For example, this is the additional information for the Country field:

Many fields will turn a different color if something is wrong. For example, if the director bio is over the
word count, it will turn orange.

If a field is a different color but youre not sure why, simply hover over the field, and an explanation
will pop up.

RETURN TO LIST VIEW

From a film record, you can get back to the List View in two ways. Either click on the
Festival logo
(in
the top left corner) or
Back to Section List
(top right).

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NAVIGATION OVERVIEW
There are a few different ways to get to a film record from the List View.

1. Select a title from the list.

2. Select a category and then a title from the list.
3. Jump to Find Mode, and search for information by the appropriate field.

DATA ENTRY
In a film record, there are two ways to enter information.

EDIT A FIELD DIRECTLY

Non-publication fields can be edited directly. All you do is type in the field. Fields like this include the
director name in the director bio section.

PENCIL PROCESS
When you edit any field that has a pencil icon next to it, it will record your changes in the Activity Log.

To edit a pencil field, do the following:

1. Click the pencil icon.
2. Enter your changes in the New field.
3. Make any necessary notes in the Notes field (for example, if you need to let others know why
you made the changes).
4. Click
Change
.
5. Make sure your new text displays correctly in the Change Confirmed
field.

6. Click
Save
.

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All data is saved after you leave a field. Do not park in fields (leaving your cursor in a field). That is
considered being in a record and prevents other users from modifying any data in the record.
If you are on the edit screen but decide not to make a change anymore, click
Discard
.

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EDITORS LIST
As editors, you have a key tool to organize your workflow in the database. Its called the
Editors List
.
Your Editors List shows the status of your films and is a useful tool for tracking when synopses come
in and are ready for you to edit. Its an easy way to get an at-a-glance look at the status of all your
films.

OPENING THE EDITORS LIST

From the List View screen, click on
Editors List
(on the top right).

That will open up the master Editors List, which looks like this:

Editors List

To see your individual list, click on your name at the top left. That will pull up all of the films
specifically assigned to you.

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SORT RECORDS
One thing to note about the Editors List is that the default setting sorts it by the date when each film
record was created. This can make it hard to find a record in this view, especially as you get more and
more films in. To sort alphabetically or by category, go to
Scripts
>
Sort By
>
Title
or
Category
.

SEARCH FOR A FILM BY TITLE

To easily find a film in your Editors List without scrolling through the whole list, use the search tool at
the top right.

OPEN A FILM RECORD FROM THE EDITORS LIST

To open a film record, simply click on the arrow next to the title. This will open the record in a new
window.

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CLOSING A FILM RECORD

If you got to a film record through the Editors List, there are a couple of ways to close the film record:
one will return you to the Editors List, and the other will return you to List View.
Return to Editor's List
To return to the Editors List, click the X in the top right corner (of the film record window, not the
bigger FileMaker window).

Return to List View

To return to List View, either click on the Festival logo or
Back to Section List
.

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CLOSING THE EDITORS LIST

To get back to the List View (the main list of all films) from the Editors List, either click on the Festival
logo or
go back to main category list

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SPECIAL CHARACTERS
Shortcuts for inserting special characters do not work in FileMaker (for example, em and en dashes,
letters with accent marks, etc.) To insert a special character into FileMaker, you may have to type it in
a Word doc and then copy and paste it into FileMaker.
However, sometimes this creates weird formatting issues with the textthe pasted text may display
in a different font or size than the surrounding text.
The fix: After you copy and paste a special character into FileMaker, select
Edit
>
Undo Formatting

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PROOFHQ
Insert super helpful instructions here

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GOOGLE DOCS
Locating a Google Doc
Tracking Changes
Inserting a Comment
Saving Changes
Accepting/Rejecting Changes

Sharing a Document
Resending a Document
Word Count
Revision History

LOCATING A GOOGLE DOC

To locate a Google doc that someone else has shared with you, go to
drive.google.com
and select
Shared with Me
. Then select the document from the list.

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TRACKING CHANGES
To track changes in Google Docs, click the
pencil
in the top right corner and select
Suggesting
. This
will put you in suggesting mode, which is Googles version of Track Changes. Note that when you
make any changes or comments and then close the window, an email will automatically be sent to
everyone else who has access to this document, listing all the changes you made. So try not to exit out
of the window until youre done.

INSERTING A COMMENT
Highlight the word or phrase you want to make a comment about. Then select
Insert
>
Comment

Type in your question or suggestion, and click the blue

Comment
button. (Otherwise it wont save.)

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Another way to insert a comment is to type directly into the box that automatically pops up for every
change you make:

SAVING CHANGES
Google Docs automatically saves all your changes, so there is no need to manually save.

ACCEPTING/REJECTING CHANGES
A comment bubble pops up for every single change you make while in suggesting mode. To accept or
reject an edit, simply click the check mark or the X on the comment bubble. Note that Google Docs
will notify everyone who has access to this document about all activity, including accepting or
rejecting changes.

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SHARING A DOCUMENT
To give people access to a document, click
Share
at the top right.

Then type in the email address of the person youd like to give access to, make sure the dropdown
menu says
Can edit
, and click
Send
.

RESENDING A DOCUMENT
If you want to let someone know that a document is ready for them, and they already have access to
it, you can just send them an email to let them know its readythey should be able to then find the
document in their Google Drive. Or, if youd like, you can copy the URL into an email. But dont click
Sharethis only changes the settings of who can access the document.

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WORD COUNT
To check the word count, highlight the text you want to count and select
Tools
>
Word count
.

However, please note that if you have made edits in Suggesting mode, the word count will not
reflect the final version of the textit will only count the original. In order to check the word count of
text with tracked changes in it, you may have to download the file as a Word document, accept all
changes (under
Review
tab >
Accept
>
Accept All Changes in Document
), and do a count in Word.

REVISION HISTORY
To view previous versions of a Google doc, go to
File
>
See revision history

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To see a version from a certain date, select that date from the right side.

However,
DO NOT
select
Restore this revision
(unless you want to get rid of all your changes since
then). If you select that, you wont be able to recover any later versions of this document.

Exit
To exit the revision history, click the arrow at the top left.

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HTML TAGS
To insert italics using HTML tags, put the following symbols around the word or phrase you want to
italicize:
<i>
at the beginning
</i>
at the end
Example:
Kevin Smiths horror film <i>Yoga Hosers</i> takes place in a Canadian convenience store.
This will display online as:
Kevin Smiths horror film
Yoga Hosers
takes place in a Canadian convenience store.
Other Tags
Bold: <b> </b>
Section break: <br>
Hyperlink text: <a href="url"> </a>
Example:
<a href="sundance.org/schedule">See the schedule here</a>
would display as
See the schedule here
Note: Make sure the quote marks are straight ("), not curly ()

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EDITORS INSTRUCTIONS BY CONTENT

Front and Back Matter
Synopses
Juror Bios
Director Bios
Capsules

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FRONT AND BACK MATTER

WELCOME LETTERS
The welcome letters at the front of the catalog need to be proofread. The letters from Cooper and
Keri Putnam need to be returned to them to okay, so do those in Google Doc files and keep changes
to a minimum. The letters from Robert Redford, the governor, the mayor of Park City, and the Utah
Film Commission dont get returned; again, edit mostly just to maintain a consistent style.

SPONSOR BLURBS
You will be tempted to rewrite the little sponsor blurbs, but just put them into the style consistent
with everything else. Check with the publications manager for the word count limit.

LOGISTICAL PAGES
The logistical pages in the back of the printed film guide give information on Festival venues, how to
get around, etc. If these have to be approved by the Ticketing Office, they need to be edited, proofed,
sent back for approval, and then finalized. Then they can be put into the database to be exported.
When editing this material, use last years film guide as a model for the style.
Here are a couple of things to note:
St., Ave., and Blvd. are abbreviated in addresses throughout, but East, West, North, and South
are spelled out, e.g., 876 East 900 South. In the text, spell out Main Street and other locations.
Be sure to use en dashes, not hyphens, in all the dates: January 22February 1.
Phone numbers are done with the area code in parentheses: (435) 776-7878.
Waitlist
and
pickup
(as in
ticket pickup
) are all one word.
En and em dashes butt up against the type; there are no spaces between them and the text,
e.g, all patronswhether ticketed or credentialedmust adhere to the following
guidelines.
There are periods in
a.m.
and
p.m.

LISTS
There are lists of supporters, volunteers, and staff. With the lists, you mostly need to make sure that
the names are all spelled correctly and that they are in alphabetical order. Please note: there are two
main systems of alphabetizingletter by letter and word by word. We use the letter-by-letter system.
See
Chicago
for specific instructionsthis can get very confusing.
The staff list is the most complicated because it comes from many different sources. Make sure all the
contractors and consultants are included.
Also, in the volunteer list, some names will be out of order because they have been pulled by the
middle, rather than the last, name. Unless the name is hyphenated or is Hispanic, it gets alphabetized
by the last name: for example, Katarina Paderova Krska should be under the
K
s, not the
P
s, whereas
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Larry Heimbrecht-La Pointe goes under the

H
s. See last years volunteer list for other examples. Be
sure the names that are supposed to have asterisks are done correctly.

SYNOPSES
The first main thing that we will be editing is the synopses. These are the short film descriptions that
go in the film guide (the free pocket guide distributed at the Festival). We dont have any creative
input on these summaries; its just a very light copyedit/proofread for grammar issues. The synopses
have a very quick turnaround (
12 HOURS
), and along with each synopsis we also have to check the
films cast, credits, and additional film details (color, country, subtitles, language, etc.).
As you complete each step in this process, please mark it as complete on our tracking spreadsheet.
Overview:
1. Synopsis Ready
2. First Edit (and word count check)
3. Credit Check
4. Proofread
5. Initial Sign-Off
6. Final Edit and HTML tags

1. SYNOPSIS READY
How do we know a synopsis is ready for us to edit? When the Synopsis Ready line is in GREEN
AND
there is a timestamp under Synopsis Submittedboth of these fields show up in your Editors List.
Both
of these things need to happen before we can edit. (Another way to check if its ready for you to
edit is to look in your film record and see if Stage 1 Complete is marked Yesin the top right
corner.)
The POC might notify you by email that the synopsis is ready in FileMaker (stage 1 complete), but they
dont have to. We just need to keep an eye on our Editors List in FileMaker for any new films that
come in.
Once the synopsis is ready, editors have
12 HOURS
to complete their edits (including steps 2 through
5). If this deadline is not met, the
Synopsis Submitted
date will be highlighted in orange (on the
Editors List).

Because the Synopsis Submitted field is orange, we know that the editor is late in completing this synopsis.

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2. FIRST EDIT
EDIT SYNOPSIS
Under the Additional Film Info tab, Editor 1 clicks the blue button labeled Edit Filmmaker
Submitted Synopsis. This imports the synopsis into the Editor Edit field.
Editor 1 does a first edit. For synopses, we take a very light approachno major rewrites unless you
see a problem (in which case you must talk with the FOC before making any big changes in FileMaker).
In general, fix all grammar and clarity issues while keeping all the content the same. Make sure to add
italics for movie titles (using the formatting menu item in FileMaker). If there is any fact checking to
do or names to check, be thorough and double-check EVERYTHING.
Some tips:
No fragments.
(See what I did there?)
Do not use the title of the film.
The Press Office has been very picky about this and required us to
remove most instances of titles in the descriptions. This is because the title is right above the
description, so its repetitive to have the title in the description itself. However, if we get rid of titles,
it may force us to overuse the phrase this film, which is also not ideal. If the Press Office wants you
to remove titles for the press release, go ahead and do so. If needed, we can add titles in to some of
the final synopses later.
Other repetitive phrases.
As stated above, try not to start every synopsis with This film
especially not This film is Try to think of different ways to introduce a film without stating
the obvious. Start with a thesaurus, and brainstorm some other creative ways to introduce a film.
Here are a few ideas (feel free to add): portrays, explores, tells of, tells the story of, shows.
Avoid using we.
The filmmakers often put a synopsis in first-person perspective, but when we
publish something with the word we, it may sound like Sundance Institute is saying it (but the
general weas in we, the American public or we as humansis fine).

CHECK WORD COUNT

Make sure the synopsis is within the word count limit. If you dont, the Press Office will come back
later and ask you to trim it down. Word count limits: feature-length, 50; shorts, 40; New Frontier, 52.

MARK SPREADSHEET
When youre done, mark the appropriate cell in the synopsis tracking spreadsheet.

3. CREDIT CHECK
Along with each synopsis, we also have to check the films title, director(s), screenwriter(s), cast, year,
color, subtitles, language(s), origin country(ies), and production credits.

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Here is what you should be looking for in each field:

Field
Description
Example/Explanation
English Title
Default title listing
Articles separated into
article field,
ex., The; Cloud of
Unknowing

Original Title

Director(s)

The original title submitted on

the PAF. Sometimes directors
of international films prefer to
have their original title listed
first.
Name or names of directors
listed in preferred order. This
credit is in addition to the six

Articles separated into

article field,
ex., The; Cloud of
Unknowing
ex., Le; Petit Prince
ex.,
Kanji Nakajima
ex., Paul Abacus, Lars
Jan

Format
Title case, unless specified
by filmmaker. (See
Capitalization in Titles in
language guide for
guidelines. Occasionally
titles are all CAPS, ex.,
ABACUS. Always check with
the FOC if the title has weird
punctuation or
capitalizationdo not just
assume its correct as is.)
Title case, unless specified
by filmmaker. This title is
only used if the filmmaker
prefers it to the English
translation.
If more than one, names are
separated by a comma.

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cast members and 14

production credits.

Names should not be in all

CAPS. No ampersands
or and.

Screenwriter(s)

Name or names of
screenwriters listed in
preferred order. This credit is
in addition to the six cast
members and 14 production
credits. Documentaries
normally do not have
screenwriters.

ex.,
Kanji Nakajima
ex., Paul Abacus, Lars
Jan

Cast

Total of six names, no

character names (ex., The
Dude). Remember that
documentary films do not have
casts unless there are
reenactments. Check with the
FOC, who will contact the
filmmaker if necessary.

ex.,
Ry Tsukamoto
,
Hiromi Nagasaku
,
Kz
Sat

Year

Every film needs a year

Color

Every film must have a color.

Subtitles

Every film with subtitles should

be labeled Yes and say with
English subtitles.

Go to
http://bit.ly/1
imDZVZ
to learn how to
add accents and
symbols.

color, b/w, or color &

b/w
(be sure these are
lowercase)
ex., Yes

Look up names to confirm

spelling wherever possible.
Make sure any repeated
names are spelled the same
in each instance, including
accent marks.
If more than one, names are
separated by a comma.
Names should not be in all
CAPS. No ampersands
or and.
Check spelling of names.
Occasionally a filmmaker
request special wording in
the field, like novel by or
based on a story by.
Always separate individual
names by commas. Check
carefully for extra spaces;
sometimes the import into
the database introduces
them. With some films, the
last name in the cast may
have an and before it that
is contractual, so check with
the FOC before deleting it.
Check spelling of names,
and make sure repeated
names are spelled the same
in each instance.
We cant check the year
against anything, but if the
year listed is more than one
year ago, double check with
FOC that its right.
Use drop-down box

Use drop-down box. If you

change subtitle information,
have your FOC or POC

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Language(s)

Only filled out if the film is

NOT
in English. If it is not in
English, the FOC should verify
with the filmmaker that the
film has subtitles. In that case,
the box should specify yes
and with English subtitles. If
the film is in English, the box
should
be empty.

Origin
Country(ies)

Every film must have a

country.

ex., Japanese with

English subtitles (be sure
the subtitles is
lowercase); if English is
included, put that first,
ex., English and Spanish
with English subtitles; if
there are multiple
languages, separate
them with slashes, ex.,
Italian/Spanish/French
or English and
Italian/Spanish.
ex., U.S.A./Japan
ex., Ireland/United
Kingdom/India
Note: United Kingdom is
spelled out, not UK.
U.S.A. should have
periods.

Production
Credits

Total of 24 names in a possible

10 categories. Make sure
names are separated by
commas. No ampersands or
and. We do not include
initials of union or honorary
affiliations, example, A.S.C. No
director or screenwriter credits
in this field.

ex.,
Cinematographer:
Haskell Wexler
Editors: Michael Taylor,
Affonso Gonalves

confirm the change with

Carolyn Kaylor.
Upper and lowercase

Multiple countries are

separated by a slash; the
type should butt against the
slash with no spaces
between
(this is usually what
countries they received
funding from). Use the
drop-down box.
Always separate individual
names by commas. If there
is more than one name for a
credit, make sure the
category name is plural. All
approved production credits
are in the drop-down menu.
If the filmmaker requested a
unique one, contact
Jacqueline.

If there are multiple people

with the same title (for
example, executive producer),
and they are on separate lines,
combine them into one line
(separated by commas, with
no and) and make sure the
title is plural. This is a
complicated process in
FileMaker. See instructions.
The other fields on the page are uneditable: film type, category, run time, and film class.

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If there is any missing information or any problem with the credits, email the FOCfor example, if you
see too many credits for any film (DO NOT DELETE CREDITS YOURSELF).
In all fields, make sure that there are no extra spaces anywhere, including at the endthis causes
weird formatting issues when exported.
RIght now, the most critical fields are the ones used in the press release: title, country, director,
screenwriter, and cast. Technically, the other fields are officially ready for us when the Editors List
view shows
Ready All
. If there is a problem with one of these not-so-critical fields (for example, if
its unclear whether there are subtitles) and you cant resolve it within the 12-hour deadline, go ahead
and mark the synopsis complete but
make a note of your issues in the spreadsheet
. Come back to
these issues when you do the final edit later.
When Editor 1 is done, he/she notifies Editor 2 and
marks the spreadsheet
.
DO NOT
INSERT HTML TAGS
(<i></i>) in the synopsis yet. This comes in the FINAL SYNOPSIS.

3. PROOFREAD (Editor 2)
Editor 2 makes their suggestions, asking Editor 1 any questions as needed. (Editor 2 should go through
Editor 1 to contact POC/FOC for any questions.) Editor 2 is mainly focused on proofreading/grammar,
but speak up if you think there is a bigger issue.
**In first few days, when very few synopses are coming in, it may be helpful to have synopses looked
at by all four editors. It can help everyone get on the same page, gauge what level of edits are
appropriate, and review any grammar or style issues that may come up a lot.
Editor 2 also double-checks the
credits and additional film info
no need to check individual names,
but scan it for anything that looks wrong.
When done,
mark the spreadsheet.

4. INITIAL SIGN-OFF
Editor 1 quickly reviews Editor 2s edits (and makes sure the word count is still OK). The Editor
checked field will auto-fill with the date when the last person made a change.
Editor 1 marks off the Synopsis Additional Information field (under the Publication Information
tab).
This automatically lets the POC know that the synopsis is ready, so dont mark this off until you
are
completely
done with the synopsis and the additional info.
Editor 1 marks off the Editor Credit Check field.
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Editor 1 may also notify the POC that the synopsis is ready, if the POC prefers to have that
communication.

5. FINAL EDIT AND HTML

Once we do the initial edit on the synopses, the Press Office will publish a press release with all of
them. However, they may not accept all of our changes for their press release, because they use AP
style and we use Chicago style. So if you see any differences in their version, thats why. Also, there
may be occasional changes from the Press Office after we submit our edits. If this happens, they will
not necessarily notify us through email.
Either way, when the POC posts the final synopsis in FileMaker, we have our last chance to make any
final edits and make sure it conforms to our stylethis review is, again, just for grammar and to
double-check word count, NOT to suggest further revisions or major rewording. If you see a year and
country at the beginning of the synopsis, left over from the press release version, make sure to delete
it.
Once the POC notifies Editor 1 that the final synopsis is ready, Editor 1 does a final check of the
SYNOPSIS
and
ADDITIONAL FILM INFO
(language, subtitles, color, country, etc.there could easily be
updates to these) and
INSERTS HTML TAGS
(only italics). The Editor checked field will be
automatically updated with the new date.
Mark the spreadsheet.

ADDITIONAL NOTES
Editors should always have the final look at content to make sure it conforms to our style guidelines. If
someone besides an editor (such as a POC or FOC) makes changes after the editor has done a final
check, the field will be highlighted in yellow.

This should not happen without the editor being notified, but if it does, look in the Activity Log to see
what changes were made, and contact the person to remind them to keep you informed of any
changes.

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JUROR BIOS
The juror bios can be edited by one person or divided up by category. Dont forget to mark the
spreadsheet for each step.

1. FIRST EDIT
Edit the bio in Google Docs, using Suggesting mode.
Word count: 125135
Make sure to fact-check everything. Also, if bios contain exaggerated praise or accolades, tone it
down a little and make the language a little more neutral. We want to make sure Sundance Institute
can stand behind all the claims made.
Do not
add HTML tags.

2. PROOF
Editor 2 proofreads.

3. PASTE INTO FILEMAKER

For some reason the FOC this year preferred that we copied the bio into FileMaker before sending the
Google doc to the juror. But if the FOC no longer requires that, feel free to skip this step.

3. SEND TO FOC
Send the Google doc to the FOC who is over jurors. The FOC will forward it to the juror and will notify
you when it is approved and if any changes are required.

4. INSERT FINAL CHANGES, HTML

Once the juror approves it, insert any requested changes into
FileMaker. Then insert HTML tags.

5. FINAL PROOF
Editor 2 does a final proof in FileMaker.

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DIRECTOR BIOS
Remember that director bios for all SHORT films take the lowest priority. These only go online and are
not printed in the catalog.
Note: Before editing director bios, export a list of all director names and bios. Then sort this list
alphabetically to see if we have any directors that are mentioned more than once. If a director used
the same bio for two different films, youll want to edit only one and then copy and paste it into the
other.

1. FIRST EDIT
Edit the bio directly in FileMaker.
Word count: 75
Make sure to fact-check everything. Check all the titles, dates, and names of festivals and awards for
accuracy. If filmmakers name other films of theirs that played at the Sundance Film Festival, be sure
and check the date. Because the films are selected in one year and screen in the next, filmmakers are
often confused about the year.
Watch for any bios that say a film was nominated for Sundances
Grand Jury Prize. IMDb uses this terminology to describe films in the competition categories at the
festival. These films have merely been selected, not nominated for anything, so dont use this
credit. Just say the film played at the Festival and name the year.
Also, if bios contain exaggerated praise or accolades, tone it down a little and make the language a
little more neutral. We want to make sure Sundance Institute can stand behind all the claims made.
For the first reference to the filmmaker, use the full name. Subsequent references should use the last
name only (not the first name).
If you have a bio from the filmmaker that is the right length, just try to clean that up and use it. If the
bio is longer and you have to cut, use the following priorities:
1. With a lengthy filmography, choose films that have won awards and name the awards if
possible. If the film won several awards, you can call it a multiple award winner.
2. If the filmmaker has had films screened previously at Sundance, include those films and say
when they played at Sundance.
3. Try to indicate, if possible, what the filmmakers current project is (it may be the film
screening at the Festival).
If there are two filmmakers on a film, each bio should only be about 60 words (for a total of 120
words); if there are three directors, the limit is still 120. Sometimes these filmmakers will submit a
joint bio; in that case, they can have 90 words.
Check the list of directors, and make sure you are not missing anyones bio. If something is missing,
contact the FOC.

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Add HTML tags!!

2. PROOFREAD
Editor 2 proofreads.

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CAPSULES
A folder will be set up in Google Drive for each film category. In each folder, programmers will create
a separate document for each film capsule. When a capsule is ready for editing, the publications
manager will notify the editor and log the date in the capsule spreadsheet. Editors should return
capsules to programmers for initial review within approximately
24 hours
of receiving them.
As you complete each step in this process, please mark it as complete on our tracking spreadsheet.

1. EDIT (Editor 1)
Edit.
Turn on Suggesting mode to track all edits. If you have questions, you can leave a
comment in the document or call/email the programmer, whichever makes the most sense.
Remember that most programmers will appreciate some creative input, so feel free to give
suggestions to enhance the capsules (within reasonrewriting everything probably wont go
over too well). More notes on the editing process are below.
Check word count (150)
. The capsules should be approximately 150 words long, but they can
be up to 175 words without a problem. If the capsule is much longer than this, cut it to the
proper length.
Google Docs word count feature
Mark spreadsheet.
When you complete the first edit, mark the spreadsheet and notify Editor
2.

Special Considerations:
From the Collection.
Each Collection film include a description at the end of the capsule explaining
why its being shown at this years Festival, who supported the restoration, etc. This counts toward
the 150-word limit.
New Frontier.
New Frontier capsules include dates and times of the venues where they are appearing.
This is repeated in each capsule for the digital program guide, but it will be deleted in the catalog.
Make sure the date and time formatting is consistent. The word count limit may be different for each
New Frontier category. Check with publications manager.
Shorts.
Short films do not have capsules.
Special Events.
Capsules for Special Events may include a line at the end describing the format of the
event: for example, a screening followed by a Q&A or panel discussion. Make sure the wording is
consistent in these descriptions. This line counts toward the word limit.
Spotlight.
Each of the Spotlight films has an intro sentence describing where it premiered. This
sentence comes at the beginning of the capsule and is in italic. (If the film title is in this sentence, it
should not be italic.) This sentence counts toward the word limit.
Sundance Kids.
Sundance Kids movies include a line at the beginning recommending a minimum age.
This line should be in italic. It counts toward the word limit.

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2. PROOFREAD (Editor 2)
Proofread.
Make your edits in Suggesting mode, asking Editor 1 any questions as needed.
(Go through Editor 1 to contact programmers for any questions.) Editor 1 will probably be
making the most substantial changes, and you, as Editor 2, will generally be giving it a second
look and checking for grammarjust a proofread. If you have any suggestions for substantial
changes, talk them over with Editor 1 or insert them as comments, rather than making the
change directly.
Mark spreadsheet.
Mark the spreadsheet and notify Editor 1 that youre done.

3. REVIEW AND SEND BACK TO PROGRAMMER (Editor 1)

Review.
Quickly review Editor 2s suggestions. (Some editors may prefer to make sure all
suggestions are tracked under their own name, rather than two different editors, because
programmers may get confused about which editor is assigned to them.)
Notify programmer.
Email the programmer to let them know its ready.
Mark spreadsheet.

4. RECEIVE APPROVAL (Editor 1)

Receive approval.
The programmer reviews the edits. (If they take more than 24 hours to
review your edits, follow up with them to make sure they received it, or let the pubs manager
know that youre having trouble getting a response.) If the programmer rejects any edits or
has questions, they will contact you and have some back-and-forth discussion until you both
agree.
Note: When a programmer opens a capsule and makes any changes, Google Docs will
automatically email you a list of all their activity, including your suggested changes
that they accepted or rejected. Use this email as you review the capsule, especially to
check any changes they rejected. Of course if they dont like a change, theyre free to
reject it. However, if you made a necessary grammar change and they rejected it,
youll need to review that and come up with another solution or discuss it with the
programmer. Dont assume once you have a clean copy of your document that it
doesnt need any more editing.
Note: Some programmers prefer to go through the Google doc and accept changes,
while others prefer to leave the marked-up copy with all your edits. Either way is fine.
Mark spreadsheet.
When the programmer approves the capsule (meaning they let you know
by email that they sign off on this version), mark the spreadsheet.

4. REVIEW FINAL COPY, INSERT TAGS, AND COPY INTO

FILEMAKER (Editor 1)
Review clean copy.
If the programmer did not actually click Accept on all your changes, do
that now so you have a clean copy. Then take one final look at this versionsince its so easy

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to overlook mistakes when there are marks all over the page, its very important to look at the
clean version.
Insert HTML tags.
Insert <i> tags in the Google doc.
Copy into FileMaker.
Copy and paste the capsule into FileMaker (in the
Publication
Information
tab under
Capsule
), making sure that special characters get copied correctly
(accent marks on foreign-language titles/names, etc.). Use a hard return between paragraphs
but not an extra line. Make sure there are no extra spaces or hard returns at the end of the
capsule.

Select programmers initials.

Select the programmers initials from the dropdown menu.

Mark spreadsheet.

5. PROOF IN FILEMAKER (Editor 2)

Proof.
Do a quick proof to make sure the capsule is appearing correctly in FileMaker.
Mark spreadsheet.

SOME NOTES ABOUT THE PROCESS

WORKING WITH PROGRAMMERS
When introduced to programmers, start off letting them know youre here to help. Treat this
relationship as one in which you are giving them a service, and they are the ones in charge here.
Remember that we are not here to tell the programmers what to do. We are here as a
service
to
them, and they are free to take or leave our suggestions. When you suggest changes, it can be helpful
to provide some explanation for your changes so the programmer understands your
reasoningotherwise it may seem like youre changing things for no reason, just because you like one
way over the other arbitrarily. If youve ever been edited, you know that when you get something
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back with a million red marks all over it, you can feel defensive about your work. Help put
programmers at ease at the beginning of the process by letting them know you are here to help if
they need any feedback, not to tell them what to do.
If you are suggesting very substantial changes, it may be useful to talk with the programmer and make
sure theyre okay with the direction youre heading before you send the document back to them
completely changed. Also, if youre making very substantial changes (and the programmer has OKd it),
you may not want to worry about copyediting at first. I know its hard to resist copyediting, but if you
know youre going to have a lot of back and forth with the programmer, you dont want to put a
million red marks on the page just yet. Work on structure and ordering first, and then later worry
about commas and clarity.
Another note: Publicists or others may request specific edits to capsules; however, it is up to the
programmer (with input from the editor) whether to incorporate those suggestions.

WHAT TO LOOK FOR

When editing capsules, you are basically a test dummy for the audience that will read this later.
Anything that is confusing to you will likely also be confusing to other readers. In your first pass, read
through quickly and make notes of anything that sticks out as unclear or awkwardjust flag them
quickly and keep reading. Then go back through and see if you can come up with suggestions for
improvementslook at transitions, order, flow, etc. Leave copyediting for the end, after you make
any adjustments to structure.
Again, when you make changes, it may be helpful to leave a comment explaining why your change
would help the reader. This helps us avoid disagreements that go nowhere. (A real example: An editor
said I think this is unclear without explanation or a suggestion for improvement. The programmer
responded I dont. Not the most productive conversation in the world.)

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CONTACT INFORMATION
Every film has a print source on the page with it. This is the contact if someone wants to arrange to
screen the film after the Festival. These print sources appear under the
Contact
tab in the database;
they are on the right side of the screen and are clearly marked
Catalog
. Before the export, check all
the films to be sure they have complete print sources. The only boxes that should be filled in are the
contact name (it may be a person or a company or a person at a company), possibly a website, the
email address, and a telephone number. Phone numbers should have the area code in parentheses if
they are U.S. or Canadian ones and a + sign and the number if they are foreign. Some entries will not
have phone numbers by choice. All of these should be on separate lines, and they may not pull that
way, so you may have to rearrange them.
Examples:
David Bartholomew
Protagonist Pictures
david@protagonistpictures.com
+44 207 734 9000
www.protagonistpictures.com
If something runs to a second line, indent that line.

Peter Bittenbender
Mass Appeal
Peter@massappeal.com
(212) 343-8486
www.massappeal.com

Sometimes foreign telephone numbers will be submitted with no spaces.

442077349000
In general, we leave the formatting however it was submitted (especially since it varies so much from
country to country). However, always insert a plus sign before the country calling code. It is also
helpful to at least insert a space after the country calling code. To check where the country calling
code ends, go to countrycallingcodes.com > Reverse Lookup.

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OFFSCREEN
OFFSCREEN CATEGORIES
Offscreen refers to non-film events such as live music and panel discussions. There are a few
different categories to this section, which may change from year to year. It can be very confusing
because sometimes the same event will fall under multiple categories.
Power of Story
discussions about broad topics in film and storytelling. Ticket required (but
live-streamed to Base Camp for all credential holders).
Cinema Caf
informal daily chats. Open to the public (also live-streamed online and to Base Camp).
Filmmaker Lodge
panels exploring themes emerging from this years Festival and broader trends.
Open to the public.
Art of Film Weekend
discussions about the art and craft of filmmaking/the creative process.
Happens the first Thursday through Sunday. Access unclear.
Festival Base Camp
nightly musical performances, daily panels and performances, daily live stream
from Cinema Caf, other live streams. Open to credential holders only.
Sundance ASCAP Music Caf
live music (multiple performances each day). Open to credential
holders ages 21 and over.
Film Music Events
discussions about music, or musical performances. Access unclearsome for
credential holders only, some dont say.
Hosted Presentations
more presentations. Access unclear.
Editors will be responsible for editing the Offscreen event descriptions and panelist bios. This comes
toward the end of the process, and the information dribbles in sporadically. The descriptions should
be divided up among the editors according to whoever has time to work on them.
These descriptions also need to be set up in Google Doc files, and the editing process is similar to the
one for capsules. All the information needs to be edited, proofed, and returned to the person who
submitted it for a sign off. Then it can be pasted into the database.
Many of the Offscreen programs are maintained in the database. The main stakeholders on those
records will notify editors if any changes take place.
MAKE SURE THAT THE LOS ANGELES OFFICE KNOWS THAT NOTHING SHOULD GO ONLINE WITHOUT
PASSING THROUGH AN EDITOR. In the past, information has been entered into the database and
changes have been made that the editors knew nothing about. This also applies to panel and
presentation descriptions that come from sponsors through the corporate department. We do not
technically edit these, but they do have to be put into a consistent style with everything else. Editors
should constantly be checking the database and the online film guide to make sure that nothing
unfamiliar appears.

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Make sure the formatting of the date and time is consistent:

Saturday, January 23Saturday, January 30, 11:30 a.m.
(full dates including day of the week, proper en dashes, periods in
a.m
. and
p.m.
, etc.)

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INDEXES
The designer creates an index after the layout and page numbers for each publication are finalized. It
needs to be proofed against something to make sure none of the films, installations, or names of
directors and artists have been omitted. Getting a list to proof against has been problematic. The best
method is just to go through the printed pages and compare them to the list pulled from the
database. The publications manager has a chart of all the pages you can use to check those. Please be
sure and alphabetize
letter by letter;
the list will come from the database alphabetized
word by
word,
and there is a difference that shows up mainly in the
i
s. For any other questions about style,
refer to previous film guides.

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EDITORS INSTRUCTIONS BY PUBLICATION

Printable Film Guide PDF
The Grid
Digital Program Guide
Printed Film Guide
Catalog
Other

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PRINTABLE FILM GUIDE PDF

After we edit the synopses and other content that goes in the film guide, the designer will lay it out.
Then we need to proof it. We literally need to check every single thing on the page against FileMaker.
(I wont list it all here.) During the export and design process, there are a number of things that can go
wrong, errors that can be introduced, and content that can be mixed up and switched around. So we
need to check everything. This is not the funnest thing in the world, but it has to be done.
Well be doing this proofing in ProofHQ. Remember that anytime you request changes, you are
responsible for checking the next version of the document to make sure your changes were input
correctly.
Also, at this point, hopefully you do not have any changes to actual contentit should be just
mistakes that happened in the design stage. However, if you do have changes to content, you are
responsible for making those changes in FileMaker.

THE GRID
The first version of the grid well need to proof is the printable PDF. The proofing process is the same
for both print versions.
This is one of the most tedious jobs an editor has to deal with, so I suggest that the person who is the
most accurate proofreader tackle it. Proofreading the entire schedule takes about 12 hours. You can
divide it up, but I think it works out better if one person does it. However, if you divide it up, do it by
elements that have to be checkedfor example, codes for films, and not by days. Its important to
maintain continuity from day to day, and one person will do that most accurately, especially because
the schedule is different at the end of the second week.
The first thing you need is something to proof it against. You need a list of screenings by day and
venue to check against, and Linda Pfafflin in the Ticketing Office has the best list because it has most
of the elements that you need to proof. When you proofread the grid, you need to check the
following things in every box:
Film titlethis should be in bold. For films with long titles, use just the part that comes before
the colon that separates the title from the subtitle. For example, for
CAPTIVATED: The Trials of
Pamela Smart,
use just
CAPTIVATED
(this title was all CAPS); for
Alive Inside: A Story of Music
& Memory,
use just
Alive Inside.
Be sure that film titles that are supposed to be all CAPS are
correct.
Film categoryuse the names of the categories in the film guide: U.S. Documentary, U.S.
Dramatic, World Documentary, World Dramatic, Premieres, Documentary Premieres,
Spotlight, Park City at Midnight, NEXT, Sundance Kids, New Frontier, From the Collection. The
shorts programs do not need a category because its in the program title, e.g., Shorts Program
II, Doc Shorts Program I.
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Page number in the film guide; the publications manager will supply a pagination chart to
proof this from.
Running time; the editing manager can export a list for you to check these against. Also if a
short is playing with a feature, the running time includes the length of the short as well as the
feature.
Time of the screening, e.g., 7:30 p.m. or 4:00 p.m. Screenings at 12:00 a.m. or 12:00 p.m. are
designated as noon and midnight.
Code for the screening. There is a logic to the codes that Linda Pfafflin will be delighted to
explain to youfor example, ZIPZA18RA means
Zip and Zap & the Marble Gang
on January 18
at Redstone Cinemas in the afternoon.

Before proofing the individual boxes on a page, check that everything across the top is correct: the
date, the section headingsPark City, Salt Lake City, Ogden, Sundance Resort; the names of the
venuesEccles Theatre, Egyptian Theatre, etc. Use last years film guide as a model, but a couple of
the names may changefor example, Salt Lake City added the Grand Theatre last year. These should
be the same from page to page. The number of seats should correspond with what appears on the
logistical pages in the printed film guide. Double-check with ticketing to make sure these numbers are
correct.
There will be an Offscreen, New Frontier section in the printed film grid and probably eventually in
the online grid as well. Make sure that all Offscreen panels and other events are included in those
columns.
Note that there are screenings at the Holiday Village Cinemas starting on the final Thursday of the
Festival. Make sure that all these Holiday Village screenings have pulled correctly and that there is a
column for them. Many times they do not export correctly or even at all.
The final Sunday of the Festival has a completely different layout. There are no screenings at some
venues, and many of the screenings are TBAs because they are award winners that just get scheduled
late the night before. Use the headings that are in last years boxes, e.g., World Cinema Jury Prize:
Dramatic Winner, Grand Jury Prize: U.S. Documentary Winner, Grand Jury Prize: U.S. Dramatic
Winner, Audience Award: U.S. Dramatic Winner, Alfred P. Sloan Feature Film Prize Winner, etc.
There may be a number of different box colors, so be sure these are all consistent. Of the panels, only
the ticketed ones get a separate box and may be a different color. There should only be a few of
these. The two screenings that are part of Townie Tuesday should be labeled in the box and noted at
the bottom. These screenings should also be noted as Townie Tuesday under the film. A couple years
ago they did not pull from the database, so be sure and check that they do this year, or you will have
to add them.
Make sure that all the boxes line up according to the screening times. Some of them will have to be
adjusted. Draw a line on the printout to indicate where the correct starting time falls if it is incorrect.
Dont worry about end times, however; the boxes should all the same width except for events that are
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substantially longer than average. The gutter causes weird issues with screenings in the middle of the
daymake sure to take one pass through the grid where you just check the films around the gutter.
When you have finished these overview tasks, you can proof the information in the individual boxes.
In an ideal world (which is definitely not Sundance), it would be wonderful to double-proof the grid
against the screening times under the films to make sure it is completely accurate.
In any event,
please remember that if schedule changes occur after the export from the database, the changes
have to be made both under the film and in the schedule grid.

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DIGITAL PROGRAM GUIDE

GETTING READY FOR THE EXPORT
GENERAL CHECKLIST
Here is a checklist for what needs to be done before the export to the digital program guide (DPG):
Make sure that all capsules, including loglines for the short films, have been cut and pasted
into the database. (Special instructions for shorts are below.)
Make sure that all film credits have been proofed and formatted; if there is missing
information, contact the FOCs to supply it and enter it or have them enter it into the
database.
Proofread all the screening times of the films; they are listed under a separate tab in the
database. Make sure they are in chronological order and that all the venues are named
correctly. Only public screenings go online, so make sure any other screenings are coded
correctly so that they will not pull online.

SPECIAL CASE: SHORT FILM SYNOPSES

The DPG only pulls from the capsule field, not the synopsis field. Because short films only have
synopses, we have to copy and paste them into the capsule field so they actually go online, and we
have to do a few more things to help users navigate the shorts.
UNDERSTANDING URLS
For this process, youll need to understand naming conventions for URLs of each film page.
Each film has its own page on the digital program guide. The URL starts with
sundance.org/projects/
and then the name of the film. If the name is one word, its super easy: simply add the name of the
film (lowercase). For example,
sundance.org/projects/resilience
will take you to the film page for the
movie titled
Resilience.
If there are multiple words, insert a hyphen for each space:
The Bad Kids
sundance.org/projects/the-bad-kids
If there are letters with accent marks on them, they should be transliterated into the regular
character:
YY
sundance.org/projects/yuyu
Parentheses, commas, and other punctuation turns into hyphens:
Abendland (Hours, Years, Aeons)
sundance.org/projects/abendland-hours-years-aeons

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WHAT TO DO IN EACH INDIVIDUAL SHORT FILM RECORD

Copy Synopsis into Capsule Field
Copy and paste the final synopsis into the capsule field. Do this for every single short: both those
appearing as part of a shorts program and those appearing with a feature-length film.
Add URL to Capsule Field
In the capsule field for each individual short, insert a line at the end telling what program or feature
this short appears with.
For example:
<b>Screens with <a href="/projects/shorts-program-5">Shorts Program 5</a>.</b>
Make sure the quote marks are straight, not curly.
WHAT TO DO IN PROGRAM AND FEATURE RECORDS
Shorts Programs
For shorts appearing as part of a shorts program, copy and paste all the synopses into the capsule
field of the master short program, in their slotted order. The order of the program can be found on
the screening tab:

This is what the capsule field should look like for a shorts program:
<a href="/projects/so-good-to-see-you">So Good to See You</a><br>In this darkly comic take
on the dual realities of friendship, a dinner party goes painfully sour.
<a href="/projects/killer">Killer</a><br>When Dusty masturbates for the first time,
something terrible happens.
<a href="/projects/mobilize">Mobilize</a><br>Guided expertly by those who live on the land
and are driven by the pulse of the natural world, this story takes us on an exhilarating journey
from the far north to the urban south.

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<a href="/projects/its-not-you">Its Not You</a><br>Relationships can be an endless cycle of

breakups.
<a href="/projects/speaking-is-difficult">Speaking Is Difficult</a><br>This film always begins
in the present day. A scene of tragedy unfolds, accompanied by fear, chaos, and disbelief. As it
rewinds into the past, retracing our memories, it tells a cumulative history that is both
unbearable and inevitable.
<b><a href="projects/shorts-program-awards-winners">Short Film Jury Award: International
Fiction</a> </b> <a href="/projects/maman-s">Maman(s)</a><br>Life is disrupted for
eight-year-old Aida when her father returns with a young Senegalese woman, Rama, whom he
introduces as his second wife. Sensitive to her mother's distress, Aida decides to get rid of the
new visitor.
<a href="/projects/the-Shining-Star-of-Losers-Everywhere">The Shining Star of Losers
Everywhere</a><br>Haru Urara, a Japanese racehorse, became a national icon after enduring
a losing streak of epic proportions. Dubbed "The Shining Star of Losers Everywhere," she was a
symbol of perseverance and inspiration during a time of economic crisis.
Feature Films Preceded by a Short
At the very end of the capsule of the feature film, insert the description of the short. This is the format
you should use:
<b>Screens with <a href="/projects/solemates">solemates</a></b><br>Told from the
perspective of shoes, this film tells the story of a couple's journey through lifethe ups, the
downs, the passion, and the dedication it takes to share your life with the one you love.

NOTE ABOUT SHORTS

Because the synopses for the shorts are now in multiple places, remember that if you get any
changes, you must make the changes everywhere.

AFTER THE DPG LAUNCHES

After the DPG launches, well want to scan through it to make sure everything that needs to be pulled
is actually pulled and that its displaying correctly. Each editor should look through his or her own
categories. If anything is wrong, contact the database manager. Also look through the schedule
gridespecially shorts programs and features that play with a short.
Double-check that only the public screenings are listed with each film. Remember that Townie
Tuesday screenings are public and should be listed under the appropriate films.

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PRINTED FILM GUIDE

include grid
INCLUDE INDEX??
The grid is the master schedule of all public screenings. For each screening on the grid, we include the
page number of the film synopsis so people can look up more information.

Because of that, we have two different versions of the grid: one for the printable film guide PDF
(which is posted online and refers to the page numbers in the printable film guide PDF), and one that
goes in the printed film guide (which refers to the page numbers in the printed guide).
Runtime changes will inevitably come in after we go to print, so we just update the grid as much as
possible until our deadline. This is one area where discrepancies between the film guide and catalog
are okaywe update the run times in each publication, even if that means it will be different from the
other print materials.

Getting Ready for the Export for the Printed Film Guide
Here is a checklist for what needs to be done before the export for the printed film guide:
Make sure that all synopses, including loglines for the short films, are the final edited version
and are in the final slot in the database.
Make sure that the film credits are complete. If any are missing or if something looks
incorrect, contact the FOC.
Make sure the screening times of the films are correct and any that are not public screenings
are coded correctly so they will not pull from the database. Townie Tuesday screenings are
public.
Make sure that any short films that are playing with features are marked in the database to
pull with that film.
Make sure that all the Offscreen programs are complete and include any last-minute updates.
Make sure that the graphics designer has turned off hyphenation; there should not be any
split words at the ends of lines.
Proofreading the Printed Film Guide

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Editors should proofread their sections of the film guide first; then a second editor should proofread
them. Every section of the film guide should be proofed by two editors.
Here are some things to watch for:
Make sure the pagination is correct.
Make sure the running heads on the sides of pages are correct.
Make sure the films in each program have pulled in alphabetical order. If the film has a foreign
title as well as the English one, that title follows the English one in parentheses
Combine credits; if the director and screenwriter are the same person, the credit should read
Director/Screenwriter: Woody Allen. If there are two or more directors or screenwriters, make
the categories plural, ex., Directors/Screenwriters: Katy Chevigny, Ross Kauffman.
Dont break names in the cast lists; documentary films have no casts unless they have
reenactments; in that case, list the actors who play the roles. If the film has a narrator, that
name can go in the cast slot and the category title should say Narrator.
Make sure that every film has a country, year, running time, and color or b/w and that all films
that are not in English have the languages noted, followed by with English subtitles.
Proof the screening schedule against the database to make sure no screenings have been
omitted or changed. There is a lag between the export and proofing the printed pages, and
occasionally screening information may change, so check any discrepancies carefully. Also any
changes must also be made under the individual films. Remember that the Townie Tuesday
screenings are public and should appear under the appropriate films.
Check film codes in the screening schedule.
Check that the venue names are correct. Peerys Egyptian Theater in Ogden is the only one
that spells it theater instead of theatre. The MARC is all CAPS. Theatres should be
designated Park City, Salt Lake City, Ogden, or Screening Room, Sundance Resort.
Proofread all the film synopses. Make sure there are no orphans in the text.
Make sure the shorts playing with features have pulled with the correct feature and that they
include the directors name; the films country, year, running time, and color or b/w; the
language, if the film is not in English, with English subtitles; and the correct logline. The first
line should read Preceded by with no colon.
Make sure the screenings that are part of Townie Tuesday have the text added under the
screening. See The Battered Bastards of Baseball from the 2014 film guide for an example.
Check that the individual running times of the short films in a program add up to the total.
Check that the selected shorts photos have identifying captions.
Proofread the grid if it hasnt already been done.
Make sure that any corrections made on hard copy are also made in the database.
Make sure times are formatted correctly (NO 12:00. It should either be noon or midnight)

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CATALOG
INCLUDE INDEX??
compare to film guide and FM when proofing, make all consistent
Getting Ready for the Export for the Catalog
Here is a checklist for what needs to be done before the export for the catalog:
Make sure that all capsules, including loglines for the short films, are in the database and
formatted correctly. Check with Jacqueline if italics need to be coded.
Make sure that the film credits are complete. If any are missing or if something looks
incorrect, contact the FOC.
Make sure the screening times of the films are correct and any that are not public screenings
are coded correctly so they will not pull from the database.
Make sure that all the directors bios have been put in the database.
Make sure that any short films that are playing with features are marked in the database to
pull with that film.
Make sure that all the Offscreen programs are complete and include any last-minute updates.
Make sure that the graphics designer has turned off hyphenation; there should not be any
split words at the ends of lines.
Proofreading the Catalog
Editors should proofread their sections of the catalog first; then a second editor should proofread
them. Every section of the catalog should be proofed by two editors.
Here are some things to watch for:
Make sure the pagination is correct.
Make sure the running heads on the tops and sides of pages are correct.
Make sure the films in each program have pulled in alphabetical order. If the film has a foreign
title as well as the English one, that title goes under the English one.
Combine credits; if the director and screenwriter are the same person, the credit should read
Director/Screenwriter: Woody Allen. If that person is also the producer, the credit should read
Director/Screenwriter/Producer: Woody Allen. Combine other credits where you can.
Dont break names in the credit lists; documentary films have no casts unless they have
reenactments; in that case, list the actors who play the roles.
Make sure that every film has a country, year, running time, and color or b/w and that all films
that are not in English have the languages noted, followed by with English subtitles.
Proof the screening schedule against the printed film guide to make sure no screenings have
been omitted.
Proofread all the film capsules and directors bios. Make sure there are no orphans in the text.
Make sure all the capsules have the initials of the author at the end.
Make sure that every film, including all the shorts, has a print source.
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Make sure the shorts playing with features have pulled with the correct feature and that they
include the directors name; the films country, year, running time, and color or b/w; the
correct logline; and a print source. The first line should read Preceded by with no colon.
Check that the individual running times of the short films in a program add up to the total.
Proofread all the letters, lists, juror bios, and other information in the catalog.

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OTHER
PRESS AND INDUSTRY GUIDE
This is basically a proofreading job, although you may want to do some cleaning up in the text. The
main thing is keeping the schedule pages in a consistent style. Check all the info and proof the blurbs,
in addition to checking against last years version to make sure we didnt miss anything. The
document will probably come from Rosie Wong as late as early in January. It should be edited and
returned to her for a signoff. Then you can finalize the changes and return the corrected document to
her.

NEW FRONTIER GUIDE

Make sure the descriptions are consistent with whats in FileMaker.

PANELS BROCHURE
Make sure the descriptions are consistent with whats in FileMaker.

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Special Considerations
New Frontierno capsules?
Shortsno capsules
instructions for FileMaker, html, etc. (no curly quotes)
include br tags, no p tags
add synopses into program capsules and vice versa?
when one thing changes, you need to change it in mult places
Shorts: how to do URL (special characters get deleted; letters with
accents get transliterated)
Offscreenrepeated capsules need to be the same
Spotlight: extra line in capsule
Kids
Collection

New Frontier
One confusing thing about New Frontier is that there may be two related pieces in different
subcategoriesfor example, there may be a film that has an accompanying VR experience. The NF
editor will have to keep track of those different pieces.

REPEATED CONTENT
In addition to the obvious repeated content like synopses, youll also want to proof the following
items to make sure theyre exactly the same in all publications (unless theres an approved exception).
This chart shows where each item is located in each publication.
Content

Film Guide PDF

Printed FG

Catalog

sponsors

front matter

front matter

Institute supporters

back matter

front matter

front matter

front matter

The Films page

front matter

DPG

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category descriptions

Offscreen capsules

on each
category title
page

in two places:

back matter

back matter

1) front
matterWelcome
page
2) on each category
title page

rollover text on
the main
Festival
program page
Panels & Music
section

RUN TIME CHANGES????

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APPENDIX A: NAMES OF AWARDS,

SCHOOLS, AND FESTIVALS
Please add to this list as you verify the official names of other
commonly mentioned awards, schools, and festivals.

AWARDS
When citing awards, only capitalize if the award has a specific formal name, for example, Academy
Award. If the film won a best actor award, a best director award, an award for best first film, an award
for best documentary film, those are descriptive and should be lowercased. Here are some examples
of names for specific awards:
duPont-Columbia Award
Peabody Award
BAFTA (British equivalent of an Academy Award)
Golden or Silver Bear (Berlin International Film Festival)
Palme dOr (Cannes Film Festival)
Golden or Silver Lion (Venice Film Festival)
IFP Independent Spirit Award
NAACP Image Award
CableACE Award
Emmy Award
Peoples Choice Award
International Critics Prize
New York Film Critics Award
FIPRESCI Prize
DGA Award (or Directors Guild of America Award)
Here are the official names of Sundance awards:
Grand Jury Prize
Jury Prize (for World Cinema competition films)
Audience Award
World Cinema Audience Award
Directing Award
Excellence in Cinematography Award
Freedom of Expression Award
Waldo Salt Screenwriting Award
World Cinema Screenwriting Award
Documentary Editing Award
Special Jury Prize
Jury Prize in Short Filmmaking
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Alfred P. Sloan Feature Film Prize

Jury Prize in Latin American Cinema
Filmmakers Trophy
NHK International Filmmakers Award
Best of NEXT

SCHOOLS
Many of the filmmakers will have attended some of the prominent film or theatre programs around
the country. Here are the ones most often named:
NYU Tisch School or NYU Tisch School of the Arts
AFI (American Film Institute)
UCLA School of Theater, Film and Television
USC School of Cinematic Arts
Cal Arts
Yale School of Drama
If a formal name of a film department at another school is given, try to check it on the Internet to
make sure the name is accurate. Otherwise, its better to say the film program at Syracuse University
or whatever it is.

FESTIVALS
Here are the official names of the film festivals that will be mentioned most often:
Cannes Film Festival
Berlin International Film Festival
Venice Film Festival
San Sebastin International Film Festival
SXSW
Toronto International Film Festival
Vancouver International Film Festival
If there are others, try to check the name on the Internet. Most of the film festivals in the United
States just use the name without international, e.g., Savannah Film Festival, the Hamptons Film
Festival, Tribeca Film Festival, Atlanta Film Festival.

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INSTRUCTIONS FOR THE EDITING MANAGER

ASSIGNING CATEGORIES
Note about workload:
Shorts do not have any capsules. But their synopses will come in all at once, and
the editor will likely need help getting them done on time. There will be a lot of director bios in this
category (but they will only go online; they dont get included in the catalog). There is also some extra
HTML coding the shorts editor will have to do when the site goes live.
New Frontier and shorts should be separate?
You will get training from Jac, then train editors

TRAINING EDITORS
SPREADSHEETS
pubs manager will probably make the capsule one (include example here)

EXPORTING TO EXCEL
The Export feature in FileMaker can come in handy when you want to quickly see a list of all the films
and selected information. For example, if you want to go through the final proof of the schedule grid
and check all run times, you can export a spreadsheet that will show just each film title and its run
times. That way, you dont have to go into each individual film record to check the run time.

note about the process: always proof things to make sure your changes were input correctly. Dont
just trust that they were all done
film updates, run time changes
Updating this manual:
styles
links

Use copyediting test at beginning of hiring process? Create something that will test general principles
but not style-specific things just to trip them up. We can train people who have a good foundation.
Make sure you have a scoring system that will give the right amount of weight to bigger issues.
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Make an easier first-day/intro doc that explains exactly what editors and manager will be doing.
Explain what stage 1 and 2 mean
If we have the same director 2x, make sure we edit bio the same way
Do this by exporting list of director names, alphabetize, and see if any repeats.

REVISING THE PUBLICATIONS MANUAL

Throughout your time here, keep a running list of the questions editors had that werent answered in
the publications manual but should have been (or things that were not explained clearly enough).
Towards the end of your time here, update the manual with the answers to those questions, and
delete anything that is obsolete.

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dont know where to put these

In 2016 (the 10th anniversary of New Frontier), we had four subcategories (which may change from
year to year):
NF Virtual Reality (VR) Experience
Tethered: Theres an exhibit space where audiences can come freely to view
different virtual reality experiences. (These are not scheduled events; they are
set up in the exhibit space and are open all day long.)
Mobile: Audiences can download the New Frontier app to view VR
experiences right on their mobile phones.
NF Films & Performances
These are scheduled films and performances that use
innovative media technology.
NF Art
Im not really sure what the difference between art and VR is. These are
installations that are also in an exhibit space and are open for audiences to freely
come and view.
NF Gateway
special premieres of VR experiences or panel discussions about media
technology/VR. These are listed in the New Frontier section in the main body of the
catalog, but on the grid theyre listed as Offscreen events.

FIND MODE
EDITING CREDIT ORDER
screening tabs types of screenings
Marking records complete
adding page numbers

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