Beam

Written by Karen Frank and Directed by Chris Durant
Running Time: 11 minutes 56 seconds

Cool Minnesota

Written and Directed by David Buchanan
Running Time: 6 minutes 27 seconds

Committed

Written and Directed by Erik Lundin
Running Time: 9 minutes

Good Love Rises

Written and Directed by Julie Kane Meyer
Running Time: 11 minutes 21 seconds

Gutless Wonder

Written and Directed by Kellen Berg
Running Time: 9 minutes

Life Cycle

Written and Directed by David CC Erickson
Running Time: 11 minutes 30 seconds

Out of Time

Written by Chris Anderson and Directed by Greg Stiever
Running Time: 12 minutes

Speaking to the Sky

Written and Directed by Chris Durant
Running Time: 11 minutes 32 seconds

Twist of Bliss

Written and Directed by John Borowicz
Running Time: 11 minutes 40 seconds

Putting Meaning Into Sound

In my old neighborhood of Maida Vale, London W9 lived the BBC Radiophonic Workshop. Using the power of magnetic tape, electronic oscillators, tone generators, live music and foley sound, artists and engineers alike David Shea, Mark Ayers, Daphne Oram, Delia Derbyshire, Desmond Briscoe, Eddie Kramer, Ron Grainer made pioneering scores for radio and TV. And occassionally I would see a few of them at my local Warrington Hotel Pub now owned by the brutish chef from Hells Kitchen Gordon Ramsey. By 1995 most of the works of the Radiophonic Workshop had ended at Maida Vale Studios.

Often, these sound gurus played with recorded natural sounds (tin cans dropping, water drops, trash can lids, etc.) and live music to create sounds the evoked emotion and atmospheric consequences in radio plays and TV. The group in Maida Vale were respected among the pioneering industrial music composers of the time. They are best known, perhaps, for the theme music and scores to the cult British TV-classic Dr. Who.

While their techniques could seem dated today and other film artists have mocked the sound, many of their groundbreaking methods were the foundation of digital mixing and mashups we can now easily do on our desktop and laptop computers. With digital recording, we can do in seconds what took hours to create using analog tape in the early 1960s.

Minneapolis filmmaker Rick Dublin's masterful 1998 eleven minute film BUBBLEPAC uses environmental and manufactured sound to create a film score that is as important to storytelling as the script, actors or their dialog. By capturing atmospheric sound and enhancing the viewer involvement of being in the space and world of the story, you can transform locations into a sensory experience that will distinguish your film from all the rest.

Post-Production Audio: Samples, Music, Mash-ups and More

While most filmmakers strive to capture location sound cleanly and separately with a design concept for their finished soundscape, there are times when you might have to search out audio to suppliment the wild track recordings you obtain in the field. Thanks to the internet and what is known as Creative Commons, the tools and resources for filmmakers has become immensely rich.

Freesound Project has created a huge collaborative database of audio snippets, samples, recordings, and natural sounds found in nature and human-created environments. All of Freesound Project audio files are released under the Creative Commons Sampling Plus License.

Freesound Project allows you to search, sample and download (and upload) audio files to your computer and use them in accordance with Creative Commons rules. The huge database can be a tremendous resource for you in the post-production sound mix, helping you create a more realistic setting for the soundscape of your short film.

ccMixter is another excellent source of Creative Commons audio files to download, sample, cut-up, mash-up, and share but it differs from Freesound in that its primary focus is music and remixes.

And while many of you have applications you prefer to use on your computer, Audio Editors are available for download for FREE on the internet. Remember, the learning curve for mastering audio and video editing software can be long and might slow your progress in getting to the finishing line on August 15th.

Casting a ScreenLabs Challenge Short

A friend in the business suggested that one of the best places to post casting call for your film might be a rehab center in L.A. or Hazelden right here in Minneapolis. Creative problem solving is the key to no budget filmmaking but let's get serious...

Today more and more indie films are using the internet to cast characters and extras. A few of those services are Now Casting and Craiglist. What can't you get on Craiglist?

You will also find organizations in the Twin Cities such as IFP Minnesota and the Minnesota Film and TV Board useful in helping you find talent and crew for your ScreenLabs Challenge production. If you contact Chris Grap at the Minnesota Film and TV Board (651) 645-3600 and ask to post a ScreenLabs call for cast and crew on their hotline, they will be happy to assist. IFP has a weekly email news called eFlash and if you call Paul Clark at (651) 644-1912 and explain you want to put out a call for crew or cast, they too will help. (Please support your local media arts organizations!)

When posting a casting call, it is very important how you explain your ScreenLabs production. First rule: Do not lie. Tell your talent exactly what the terms of your production are and what will be expected. Certainly you may pay your actors if you wish. If you explain upfront that it is an all-volunteer no budget project, make it clear how many hours, what day, morning and night call times, and transportation requirements cast members will need to follow. Tell them there will be no pay but they will get a copy of the finished short for their demo or audition reel.

Second, the more specifics you can provide will help you yield better results. If your film has a scene with a dance hall, you might do a specific call for men and women who know how to dance Flamingo. Without having to search for professional dancers, you might find really excellent extra's and have to opportunity to shoot dance scenes to weave into the texture of the passionate tangled love story you are telling.

Also, it is important to keep the number of shoot days to a minimum. You should be able to shoot a ScreenLabs project in one or two days. Longer shoots will tax the goodwill of your cast and crew and you will quickly find your production falling apart. when you post your casting call either online or on the bulletin board, provide days the cast will be needed and locations if you can.

Another local posting service you might consider is MN Talent for cast and crew. We haven't used this online service but check it out and feel free to post a comment on ScreenLabs Challenge about your experience using these services.

You might also want to check out Breakdown Services, a national casting service Breakdown Express that provides casting services but also screenplays. As these networks grow they no doubt will become more useful for those of us outside the major talent centers of New York, L.A. and Chicago but right now they don't have a breakdown for Minneapolis.

The Element of Surprise

With any kind of short story or drama, you will captivate an audience if you add the element of surpirse or confound their expectations. In conceiving your story, think of the unexpected twist or amazing event that will stand up any audience in amazement or the suspection of disbelief. This very short piece of video astonishes but yet you want to throw your suspicion out the window and rout for the ball girl. The twist is the unbelievable happens and we think we've been witness.

This is a virile media ad for Gatorade created by Chicago's Element 79 Partners and directed by Baker Smith of Harvest, Santa Monica. The stunt woman who makes the fantastic catch is Phoenix Brown who is aided by wire rigs and Framestore CFC. In fact, the wire rigs are very low tech, with two guys pulling wires from the other side of the fence to assist Brown running up the side of the wall. Smith taped the game to capture the realism of time and location. Then worked with stunt woman Brown to tape the inserts of her climbing he wall. The deep fly ball landing in her glove was added in post.

Simple Twist of Fate: BLIND FATE

Click To Play

Last years ScreenLabs Challenge had the theme "a simple twist of fate" and the location for shooting was the Stone Arch Bridge. One of the short films the jury and audiences so admired last year was BLIND FATE by Garth Berquist and Mark Lyons.

In a very simple fashion, Garth and Mark took the challenge to heart and wrote a tight and efficient script that simply met all the criteria. Most of the scenes in the film occur on the Stone Arch Bridge of which they made maximum and essential use in relation to the story. The bridge was a key player in the fate of the characters and the story.

And the twist was classic in their story with the reveal coming at the end. BLIND FATE took home two awards -- The Jury Prize: Runner Up and Audience Award as voted by internet viewers from all across the U.S.

What is a character?

With the ScreenLabs Challenge you are limited to 4 characters but this doesn't mean there won't be more people appearing on the screen or that you are not allowed to use extras.

As defined in screenwriting and film parlance, a character is a person who acts or is acted upon, has intent, and makes or suffers consequences in the plot or theme of your story.

A character does not have to speak to be a character. They don't have to be human. Nor does he or she need to deliver a line in the movie. But they do need to have impact on the storyline or change the course of your screenplay.

Here is an example: Two people are in a restaurant eating dinner with a room full of other people. The other people in the restaurant are not characters, they are extras and background to the story. The waitress comes over and takes their order and makes small talk with the lead characters.

Just speaking lines does not make the waitress a "character" even if she tells a joke. However, if the waitress goes back into the kitchen, laces the food of one of the main characters with a toxic substance or a mind-altering drug and that changes the course of the story, then the waitress is a character, because she has intent and her actions impact the story.

You are limited to 4 characters and unlimited numbers of extras or non-members. However, the purpose of the limit in this rule is to reduce your production demands and cost. Having large numbers of extras and background actors will make your production more difficult to complete.

Power of Emotion

The most important task of making a short for the ScreenLabs Challenge is to show an audience something interesting and a story they've never seen before. And you must do it visually in a way that makes powerful in the impressions the viewer feels while watching.

If you achieve this visual impact you've got it made, regardless of whether you are shooting viral media, short highly acted dramas, comedy, or feature length films. The two reasons the above video is so successful, without words or editing, is that it makes you feel powerful sensations with every step and it repeatedly forces you to ask, "What's going to happen next?"

Five Tips to Make a Better Short

These five tips are frequently mentioned as defining the difference between good and bad storytelling on film or digital media.

GET GOOD AUDIO

Audio is as important, if not more than video image. Cannot emphasize this enough. Audiences watching films will gently dismiss quirks or experimentation with video grains, colorizations, treatments and even errors BUT if you mess up audio they have little or no toleration. Do not use the microphone on your consumer grade camera! Learn to capture good audio on location or collaborate with a professional location sound expert.

SHOW FACES

In a comedy or dramatic scenario, it is important to get faces on the screen to get inside the emotion of your story. Everybody loves to look at faces.

The great Russian father of film, Sergei Eisenstein with his experiments with juxtaposition, demonstrated that showing a person FACE, and then an event like in his Odessa steps sequence, evoked for an audience an emotion response to that event. Reaction shots make put the audience in the place of the character and leads them to imagine how they feel in the same situation.

All too often we find people shooting film that they are trying to cover the scene or set a shot that establishes location and it is very boring. Writers tend to want to shoot to cover dialogue and conversational interaction -- this is a mistake. Shoot to cover the human emotions and expressions inside the scene. Make sure you get significant reaction shots. Establish strong point of view (POV) with the use of camera shots of your characters and close ups and through their eye reveals.

BE BRIEF

As writers often say in the industry "Get in late, get out early" when talking about writing a scene. The surest thing to make your story uninteresting to to drag on and on and on trying to establish the scene and fail get to the point that scene is trying to deliver. Be as efficient as possible with exposition and storytelling.

GOOD LIGHTING

Knowing how to use lighting is essential. Just setting your camera up and a tripod and pushing the record button certainly is a recipe for really flat and boring images on the screen. Every shot needs to be considered and planned in advance for the effect of the lighting on the story. Lighting allows the eye to be directed and focused on where the story is, where it is going and the emotional drama of the scene.

If you don't feel you understand the science of lighting, get someone who does and is interested in lighting design. Knowing and using concepts like three point lighting, key lights, fill lights, soft light, hard light filters or knowing how to use natural light during mood moments of the day and the science of bouncing light, using flags and defusers if you are going entirely with a "natural light look" is criticala to building a visual style to match your dramatic and comic story.

AVOID DISTRACTING TECHNICAL NOISE

If you watch videos on YouTube or Google Video you quickly start to notice why things fail and why things work. One of the repeating mistakes of so many videos on these channels, and a common mistake for amateurs, is going off message or away from the story because of technical noise. Most commonly, when the camera is jerking around and constantly gyrating for no useful reason, we stop looking at the action, the characters and the story and start watching the irritation.

Think of it as a fly in the room. All of a sudden its buzzing next to your ear (audio) or circling next to your face (picture). Immediately, you stop looking and the beautiful scene on the lake, or the nice plate of food or the beautiful people around you in interesting conversation because the fly is an overwhelming distraction. I see this all the time on YouTube and most anyone in this rapid info and image age turns it off quickly in favor of less noisy transmissions of information or story.

Making Art Without Permits

It happens all the time. People exercising their creative freedom but still using common sense and a proper respect for neighbors and collaborators go into public parks and shoot their footage without a government issued permit. Part of the ScreenLabs Challenge is to figure out how to use the location in Prospect Park, Minneapolis near the Witches Hat Water Tower. It is all in the craft of being resourceful and, don't forget tactful and diplomatic - a skill essential to being a filmmaker.

Unless you are obstructing traffic, being a nuisance to the neighborhood, using pyrotechnics, or engaged in illegal activity like public nudity or welding a firearm, it isn't likely that anyone will say or do anything to stop you from shooting. Police enforcement is not focused on stopping average citizens (and think of yourself as average) from video taping in public parks. Public spaces are meant for public use. There are no laws that say you cannot run a video camera in a public park. In the past 25 years we've never been forced to pay for a public permit to shoot a Screenlabs production and I've on a number of commercial and journalist shoots that didn't use a permit in public spaces. This is all a part of the challenge. If you want to pay for permits you are welcome.

For good reasons. cities and parks will require permits for circumstances that dramatically impact or preclude other users of public property. This is a common decency you should respect. Be mindful of equipment format: Choose camera and equipment type, such as cranes, rain towers, dolly track, etc, that will NOT impede use of sidewalks or roadways. Do not bring grip and equipment trucks on location. And, it is probably best not to use even a tripod. If your gear footprint resembles that of a tourist shooting a home movie -- all the better.

Keep the number of crew people involved in the shoot for that particular location to a minimum including production personnel, cast members and extras. Parking is a consideration that should be closely monitored as to not congest the streets and drawn undue attention to your shoot. Remember, you can always shoot b-roll with just a barebones, shake and bake crew and leave all the PAs, assistants, script continuity and excess crew out. If you plan ahead you can use a stripped down crew.

Most importantly, if you try to "act like" professionals and use arrogance when dealing with either the police or general public you will get tossed out. If you interfere with and fail to respect other public uses you will get tossed out. And if you overstay your welcome you will be tossed out.

The artists from Improv Everywhere, a New York public performance art group, have managed a very complicated take-over of Grand Central Station in New York by a flash mob and using digital video, have documented a large scale performance piece with a couple of hundred extra's and wired principle performers. And they are able to do it with high quality, good audio and excellent lighting due to the portability of modern digital video equipment. They didn't have a permit and that is a lot more difficult in Grand Central Station than anywhere in Minnesota.

And if you do it right, you'll leave people amazed and maybe even applauding as you walk away.

Image Over Words

Storytelling with images must be as strong as your script -- plot, dramatic arch and dialogue. Film is a highly visual medium and because the camera was invented to be mobile and has become increasingly moreso as the technology has evolved --use its compactness and mobility to your advantage. As much time as a writer spends on writing, analyzing and rewriting their script, also the artistic team (director, cinematographer, lighting, art director, location manager, wardrobe) should spend pre-visualizing, sketching, and compositing each scene of the short film.

The low angle of the shot above with the dog and man rope jumping in unison makes the act more powerful and impactful. When both the man and certainly the dog rise above the mid-screen line, we feel their effort has been fair more significant than if we we view them from eye level with the horizon above mid-frame. These are important ways to think about your shots and each one is a unique and interesting challenge.

In film courses students are taught how to tell story without words, narration, or verbal exposition. Visual storytelling engages the audience more profoundly than hearing it told by a character or in narration. In every scene, the director, writer and cinematographer need to create the most powerful visual significance to propel emotion, circumstance, and predicament.

Try to avoid static horizon/ground shots all the time where is camera is on a tripod pointing straightforward, or held at eye height looking at your actors. Think and plan for over head shots, low angels, high angels and camera movement that contribute to telling the story and not just added as an after-thought. Create wonderment and excitement within your frame and build it throughout scenes.

Challenge yourself to provide visually stimulating diversity. Take your audiences to places they've never been before with visual perspectives they don't often reach. They will thank you for it and enjoy your film much more immensely.

3-Point Lighting

Chris Mick, the former equipment manager for IFP Minnesota and Producer at 355 Productions explains how to put lighting into your short drama in order to achieve an effect and mood to match the story. Lighting can be one of the single biggest factors that will separate your film from amateur home movies.

Properly lighting using 3 lights can assure you are able to get clear and true skin tones, a well rounded depth surrounding your actors, separation between the focal plane and the background and foreground that directs the eye for dramatic impact. Lighting, if done properly, can immediately raise the production quality of your film and that's what you need to get recognized in this contest as well as for future projects you want to make as an indie or in Hollywood.

With home movies a videographer often relies on available light or a lighting scheme that uniformly lights everything exactly the same regardless of where you want to viewer to focus their attention. This undirected light scheme makes movies flat, boring and tiresome to watch.

The inability to design with light is immediately recognizable as amateur by judges and the general audience alike. If you find a professional lighting designer or have a camera operator who is aware of how to compose both with light as well as framing and object composition you'll be way ahead of all the rest in this storytelling challenge.

IFP Minnesota rents three-point light packages by the day or weekend at really low cost to local independent filmmakers. Also, if you can get a group of five people or more together, IFP will bring a trainer like Chris Mick in for a topical class on lighting, location sound, or camera framing and composition. These technical services can be an invaluable resource to not only this Screenlabs Challenge 2008 production but your future career in filmmaking.

What is a location?

A location is the physical setting or concrete place where you set or block a film scene or sequence. While this might seem of feel abstract when writing your script, it is very concrete and specific with shooting your short film.

If your characters are inside a home or apartment that is location #1, if they are then inside a car speaking lines that is location #2, if they are inside a store or retail establishment that is location #3 and if they are at the Witches Hat Water Tower, that is location #4. With the ScreenLabs Challenge you are limited to a total of 4 locations in which all actions and dramatic scenes must occur.

A type or category of location, such as "interior" and "exterior" cannot altogether be counted as one location. You can have one location inside a home and another inside a retail store and that is two locations, not one. When you breakdown your script and plan the shooting of the scenes, there must be no more than 4 locations in your shooting schedule.

The guidelines established for Screenlabs Challenge are not meant to harm or penalize the production but rather make it possible for you to complete making the short film with few cash resources. Limiting locations provides a reasonable framework in which you can get all the shots you need in a one or two day shooting schedule. But we do encourage you to be creative and it is possible for a skilled director, DP, and lighting person to take the most of one location and make it look like more.

All good writers and scripts are very efficient with the use of locations and their impact to the story and its meaning and applying these guidelines will make you better screenwriters.

The Party: Making a 10 Minute Short

Running Time: 10 minutes 12 seconds

Writing a ten minute short is very demanding. How much story and exposition can you tell? With the ScreenLabs Challenge you are limited by the number of locations you can use (4), the number of characters (4) and the only thing you have to fall back on is your imagination and a great script (12 pages) or less. That is if you want to win.

The Party by Eric Maierson for MediaStorm is a quick little case study in how to make the most with one location and two characters and no money on the theme "unrequitted love." Check it out. Feel free to comment good or bad. Criticism makes better films.

Lighting: Techniques to Advance Mood and Story

Running Time: 5 minutes 40 seconds

With a simple three point light package a no budget or low budget short drama can gain high production values by creating a mood and advancing the story with purpose. Often filmmakers are tempted to use available light and the low light sensitivity of todays commercial camcorders as a cover for not having a lighting plan or not knowing how to use lighting to direct viewers deeper into the story. Don't fall into this lazy trap.

Motivation with light makes a huge impact on the strength of the story you are trying to tell. This short video shows huge differences created within the same space and exactly the same shot. You can imply the passage of time, you can shift the internal psychology of the character and even using inexpensive materials and your white balance setting on the camera shoot day-for-night. This gives you many options with one simple location, even one shot, to suggest the passage of time.

Storyboard onto Screen

Running Time: 1 minute 25 seconds

Working out visual ideas on paper in pre-production can be extremely useful for the Director, Director for Photography, First AD, Lighting and Grip specialists. Drawings can be simple - even stick figures will help in many cases. If you don't think you can draw find someone who can and add them to you team. But if you cannot, do not let that stop your from making the storyboards.

Go to your primary shooting locations and using a digital camera, shoot stills a varying angles and then Hanna Hock style you can composite photos either in Photoshop or on paper of actors and actresses clipped from magazines to create the look of what can be translated to film.

The shot break downs are even more important than storyboards and they work together as a planning tool to make sure you can work efficiently on location. A shot breakdown is essentially a list of all the shots needed to tell the story.

Location Audio: Sound EFX Techniques

Running Time: 2 minutes 33 seconds

Capturing sounds on location will greatly enhance the viewing experience when the final edit and sound mix down come together for your film. Videomakers' John Burkhart gives a few simple tips here for capturing sound EFX on location.

A Matter of Note: In this video Burkhart makes an error in basic location sound recording, did you catch it? He should have shut the engine off and rolled the car silently to get a clean sound print of the wheels turning in the gravel.

Location Audio: Using a Boom for Dialogue

Running Time: 3 minutes 38 seconds

This basic primer on field recording using today's low-cost video cameras is ideal at covering basic techniques for Screenlabs Challenge productions.

Ninety percent of the time filmmakers will use shotguns microphones and boom poles to capture the dialog of their actors on location. Here is a basic overview of how to handle and use shotguns with low and no-budget production and a shake-and-bake crew. When you markup your script and storyboard the scenes, you'll want to make notation of when you will be using a shotgun or if you'll need to change to lavaliere microphones on your actors to capture dialogue.

Audio Challenge: Capturing Location Audio

The first rule of filmmaking: Audio is the most important element in your film.

If the viewer of your ScreenLabs Challenge short film cannot hear what your characters are saying they will shut it off and stop listening. Like a chef who serves raw chicken or cold cup of coffee, you've totally lost the audience and the movie is basically over.

Getting great audio starts in the field on location when you are shooting your film for the ScreenLabs Challenge. Capturing quality audio requries that you know your equipment, have a decent microphone appropriate to your action and constantly monitor the levels with the use of headphones. While a great boom mic and experienced operator is preferable in most locations, some dialogue can only be captured using lavaliere mics on location (photo by Julia Ryner12)

Good audio also starts in the script. Take the time to read your script through the prism of the audio events. There are three levels of notation that need to be marked on your script and closely monitored by an experienced sound technician or someone with a keen ear for audio separation.

First, the spoken lines of the actors need to be captured cleanly and without interruptions. The sound tech should be listening for actors who are dropping levels at the end or beginning of their lines and slurred words. Also, it is important to note when an actor jumps on the line of another actor making both words incomprehensible. Clean separation between spoken lines is critical here.

Second, there is the natural sound of the environment -- if you are in a gymnasium you will need the sounds of the shoes on the floor, balls bouncing against the floor or walls (to match the action) or an airport will have the sounds of airplanes taking off and landing or voices over an intercom announcing flights arriving and leaving. Mark up all these points in the script. Capture each distinctive sound clean and when editing add them to the appropriate places to enhance the film story.

The ambient quality of the location is important to consider in relation to the mood you want to create in the scene you are shooting there. Scouting locations just for sound can be critical in pre-production. If you find there is a quality of an echo or if at the witching hour you draw the mic closer to the actors voice and capture a more throaty quality of the speech or the crackle of leave and branches under foot as the character walks, it can add suspense if it enhances the story being told. Take time to stand in different parts of Prospect Park in proximity to the Tower and just listen. Then shout, clap, or whistle and listen to where the sound goes depending on which side of the park you in, might give you qualities to capture for your story.

Third, sound events are crucial to the action on screen such as door slamming when a character is angry or water in the sink when a character washes their hands needs to be captured separately. Matching actions on screen to their sounds makes the story more vivid. Do you homework and mark them up in pre-production.

In the best circumstances, you will have an experienced audio location sound person who makes certain you have properly recorded the audio of your actors and the wild sound in each and every scene. At the very least, either you or a designated sound assistant will listen every second while rolling to the audio on the camera with a set of headphones that block out all other sounds.

When a plane, automobile or other unintended loud distracting noises occur it is the responsibility of the sound person to stop the action or alert the director that the sound has been compromised by noise interference in the take. Always do another take even if your actors gave incredible performances. Ask them to give it again.

In summary, the goal before leaving all shooting locations is to get good, clean, quality audio recording of the actors speaking their lines, human caused audio events (car starting, door slamming, footsteps on wooden floor, toilet flushing, etc.) and wild sound (the wind, water flowing, birds churping, clocks ticking), and ambient noise (the white noise in a scene or shot that is present when not other sound event is occuring). Every one of these types of sound need to be recorded cleanly and separately in order to create an effective audio mix when editing your short film.

Constructing the right sound montage will greatly increase the believability of your story and enhance the relationships between the characters themselves, the surroundings and the moment they are living in the drama.

Why Have Guidelines?

We are often asked this question with ScreenLabs Challenge. 

The purpose of the ScreenLabs Challenge is to inspire screenwriters and filmmakers to create new work in 2008. Thus, the rules specifiy that new films be created for the Challenge on the theme of "unrequited love: agony; bliss" We do not want the participants to submit short works that were created and completed before the Challenge began.

However, we also do not wish to inhibit or restrain your creativity in using archival materials or footage. For instance, if a filmmaker has or acquires some super 8mm footage from the 1960s of chidren playing in a park and that could be a flashback in the mind of the main character, we don't want to restrict that maker from using it provided they follow the rules of 4 characters, 4 locations (one them being the Witches Hat Water Tower), uses the theme of "unrequitted love." and is not longer than 12 minutes. If your short film fits within these basic guidelines, we do not care if you began writing, planning or if you shot footage prior to the registration date. 

Of course, the purpose of "the Challenge" is to provide a framework to inspire writers and filmmakers to make new moving picture stories and keep them working. We do not want filmmakers or writers to pull a past work from five or ten years ago out of their cabinet, add a few scenes (at the Witches Hat Water Tower for instance) or re-edit a longer piece to get inside the 12-minute limit and then submit it for the challenge. 

Most importantly, the guidelines are meant to provide a level playing field for the writes and filmmakers to approach this competition. By restricting the numbers of character and locations we cut down on the expense of making the short film, cut down on the number of days it takes to shoot, eliminates some of the chances for error (for instance if crew or cast fail to show up on location) and removes some of the pressure so that you can achieve more with the effort made necessary to tell the story. Eliminating physical and practical complexities can free your expression and make low-budget and no-budget filmmaking possible.