All language subtitles for 22 - How to structure our folder.eng

Once we have
all the information,

we have to concentrate
on making the folder,

on downloading it and try to see
how we can structure it.

Before doing that,
my advice is to not waste time

and put everything in an envelope.

Here in Argentina there is a place called
General Directorate of Copyright,

where one can register his work.

I do not know how it works in other countries,

but it is very important
to be aware

that what they have there is
a very important capital.

It's very difficult to think a series,
think a format,

and that really has value.

Never dismiss it.

Protect yourself and then let's see how
we can structure all that information

and make it very nice to get out
to get financing

or some fund
or some investor

that we help make
our project a reality.

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We worked a lot on our idea,
and we were developing the project.

Now we have to see together
how we are going to present it.

How to structure a folder,
what will be the index

and what will be
the contents of that presentation.

First we have to think
on a cover.

The cover is a first impact.

That will give us not only
a general feeling,

but it will tell us
what is the tone of the series,

of the audiovisual project,
what is the character,

at best,
in which universe the fiction develops

and which is the target, because it is different
if it has a very naïve

illustration or if it has a type of illustration
a little more sophisticated.

So the cover is a job
that will take us a long time,

and it should be enough
shocking to interest someone

already at first
as to Open the folder

or go to the next page.

The next sheet should tell
the subject or idea, what it is about.

What is it, what is it?

I already have some information
in the first,

and in the second we go
adding a little more.

Remember this,
's as if I was a spectator.

We have to go tracing
and keep him interested.

We have to make him turn the pages
and read, do not browse,

do not find repeated things
and pass them without meaning.

We have to try to make that person
be interested in our presentation

and that each of the pages
add substantial information.

The next one is the synopsis.

If you already know more or less what the idea is,
understand the synopsis better.

If we put the synopsis
and then the subject,

surely have to go back
to read the synopsis to understand better.

I recommend that the synopsis go
after the theme and the idea,

and there we are going to put
what story we want to tell.

We can put the synopsis of the series,
as we saw in "Petit",

or from the movie,

but we should
develop a bit more,

maybe in three , four,
five lines at the most,

what our audiovisual project is about.

It would also be ideal to be able to accompany
each of the pages with illustration,

so that it is not just text.

On the other hand, you already know what
the story is about, what the series is about,

we can present
a little more to the character.

It is done as a species
of the character's profile,

not very long but we should,
in very, very few lines,

tell who is the protagonist
who will carry forward the story.

Then we developed
a little more the aesthetic proposal.

That's why I was telling you that ideally
should have illustrations

the presentation, and at this height
you get something with a double page,

or with sketches,

or show, if we do not have
something so shocking,

that we have been doing a lot of work,
or maybe looking for references

and that in a big screen
can see how we imagine this.

Is it stop-motion type Tim Burton?

Are we thinking of something 3D?
Are we thinking of something 2D?

have to quickly
identify what kind of project it is.

And also, if it's a producer
or it's a television channel,

going to be thinking about numbers.

Then we can go showing
synopsis of some episodes.

If the person arrived at this moment,
is really interested

and will be thinking about what is the projection
that this series has,

how will this idea
done many chapters.

Can there be a second season?
Many times that question appears.

So the best thing we can do is
go developing,

maybe in a line or two,
possible episodes

so that,
if they're already excited about the project,

see that this has a projection.

Then we can put
the technical information,

the audience, the target,
how long the episodes last,

what animation technique
we want to use.

Those are production issues,
as we've already seen,

but I think that may come
after the synopsis of the episodes.

Why do I say this?
Because it can usually change.

If we put the technical information
at the beginning,

maybe objections will start to appear.

The best thing is that they know
what the story is about, the series,

knows how it will look
and maybe after

the technical information can
get to have some modification,

can say "I guess you can
be a micro-episode, or a feature film",

but that's why you should not go to the beginning
of the conversation or presentation,

because this can trigger objections
or change proposals.

Then, who are we?

Why are we the ones
to tell this story?

Very briefly, we can put
some good picture and if not,

we can put some small
biofilmography, it's called,

or a little biography
of why we are the best

to carry out this project.

We should be very brief.

Then we can attach
the script we have as pilot.

Think that this went
as unfolding,

and every time we are giving
more information.

Surely the person that we have
ahead does not read the script of the pilot

at that moment, but already goes
to take an idea of the tone,

of the rhythm, of the record,
how we explore the genre,

how we write.

Then we can attach a budget.

If we had someone in production
working with us

or that we ourselves
known more or less

how much each episode could come out
,

what funds we have,
what is the financial plan.

It's good that you see
that we are aware

of how much this can get.

Of course if we are not prepared
or do not know,

it is best that we omit this point.

Then we can add
additional material.

Our reel, in the case of having
things that we have done

that are available on the internet.

Some storyboards of the series,
concepts, things that we have drawn.

If we have any sketch,
it does not matter, however clumsy it may be,

we can get to assemble
some kind of collage of sketches.

Maybe there is some animatic.

For those who do not know,
the animatic is like the storyboard,

with reference voices

and as if it were the animation
but only with the intermediates.

Maybe we get to do some teaser,
of even 20, 30 seconds,

so that they imagine
what is the tone

and our ability to perform.

In the best case
we can have a trailer,

but if we do not have it, do not get frustrated,
Ideally, by now

our interlocutor knows more or less
if our project is what you are looking for.

Finally we can not
ever forget about this,

put our contact, propose
that we make the project together,

put our contact
on social networks,

that's why we have to be very neat
with our social network profiles.

We are immediately going to look for
and many times,

we will see it later in pitch,

have to imagine
working with us,

really is like a species
of labor proposal.

have to feel enthusiastic,

that we will be part
of the project for a long time.

Then we should
show ourselves tolerant,

not like whimsical geniuses
who want to carry out their dreams,

but we have to try to show
that we know how to work in a team

and that really this project
is very important for us.

Well, we already have
the information sorted,

we already have a folder.

Somehow, our series
already has a format.

But now what do we do with that folder?

In the next lesson we will see
what path our project

can take and how we can accompany it.