Secrets of Successful Fundraising for Filmmaking

By Jamie Monahan 

Photo by Mimi Thian on Unsplash.

It can be difficult to feel inspired to do anything during a pandemic when filmmaking and festivals are being delayed or canceled, artists are unemployed, and we are constantly told what we can’t do. That’s why I want to share some tips that you can do right now as a filmmaker to move your project forward during quarantine. A successful fundraising campaign takes a minimum of one to three months’ pre-planning. During this downtime, you can pre-write all of your campaign emails, create a campaign action calendar, and automate your social media posts. By doing all of this preparation, you’ll be ready to go when it’s time to crowdfund!

1. Audience Building:

Two of the biggest questions you need to answer as a creator are: “Who is your audience?” and “Where do they watch movies?” Now more than ever your audience is so important. Build your show’s Instagram account with behind-the-scenes photos, interviews with actors and crew, red carpet photos, your project poster, concept art, etc. Start creating super fans who are loyal not only because they love you the creator, but also because you took them on the creative journey. Superfans take pride in the fact they are the OG fans! Start a newsletter for your film and send monthly updates. Mailchimp is my go-to platform for newsletters. There are plenty of platforms that allow you to schedule social media posts ahead of time. Free options include Tweetdeck for Twitter, the Facebook scheduling tool on Facebook, and Later.com for Instagram. There are also tools like Hootsuite that cost money but allow you to pre-schedule most if not all of your social media platforms in one place.

2. Charitable Donations:

Any money you do not have to pay back is free money! I highly suggest getting fiscal sponsorship for feature films. Fiscal sponsorship allows people to make large tax-deductible donations to your film. It involves a fee-based contract between a project and an established non-profit. It’s important to remember that charitable donations can only be used for the creation of the film not for distribution or advertising. The Film Collaborative, and Fractured Atlas are two great fiscal sponsorships you can apply to.

3. Grants:

There are endless film grants you can apply to. It may feel overwhelming but applying for grants is another opportunity for free money. Candid has 150,000+ funders and 16+ million grants. Women Make Movies has a resource page dedicated to grants and funders with over 60+ organizations to apply to. Most filmmakers do not apply to grant which I think is a mistake. If grant writing is not your specialty, hire someone. It may be worth it even if you just receive one! The Film Fund gives out grants monthly and all you need to apply is a strong one-sentence log-line and a small application fee.

4. Crowdfunding:

Crowdfunding = Free Money! Always have a deadline when crowdfunding. Ideally, 30 days to create a sense of urgency. My favorite crowdfunding platforms are Kickstarter and Seed & Spark. Anytime someone donates, share that information on social media. Sharing will remind people who haven’t donated yet to donate to your campaign. Make sure to personally reach out to friends and family via a hand-written letter, email, or phone call. A genuine connection will always get better results than relying on social media. A successful and professional-looking crowdfunding campaign makes you more attractive to investors.

5. Private Investors:

Be honest with investors! Explain the risk. Only 20% of movies make their money back. If an investor most likely won’t make their money back why would they invest? Some people invest because they believe in the story or message you’re trying to tell. Others will invest because they believe in you, the creator. Then some will invest because they love the arts, being a part of something, or the glamor of it all. Your job is to find out what your investors want and how you can give it to them. Is it credit in the film? Putting their business in the “Special Thanks” section of the credits? VIP passes to a screening?

I hope you find this information helpful and empowering. 2020 was a difficult year for many but I have been so inspired by the resilience of artists. We are essential and the world needs our stories now more than ever!

Follow Jamie Monahan on Instagram/Twitter/Facebook: @jmemonahan. If you’re interested in her upcoming classes, seminars, screenings, and more, sign up for her newsletter here.

If there are questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

How Wearing Many Hats Led Me to the Director’s Chair

By Cat Tassini

Photo by Albany Capture on Unsplash

“If you can think of literally anything else to do with your life, go do that.” This was the mantra that I heard many times during my first year of acting training. “You have to be obsessed with your character,” was another slogan, this time from my contemporary scene study teacher. As a nervous freshman in college, I took these words literally. Growing up, I had been enthusiastic about visual art, dance, theater, filmmaking, writing, music, and sports, but now I turned with laser-like focus to acting. Any time another desire entered my head, I felt agonizingly conflicted. I had auditioned and secured my place in the second most competitive undergraduate theater program in the country. Was I going to blow this opportunity by being unfocused and undisciplined? I was determined to give it my best shot. But I couldn’t keep all of my doubts — or passions — from creeping in.

I stuck it out for the two consecutive years at a professional acting studio required to graduate. However, once I had that under my belt I looked into other opportunities for learning. I ended up interning at a multidisciplinary art space in Brooklyn for credit. That was my introduction to the North Brooklyn DIY music and art scene, which indelibly molded my artistic perspective. It’s where I truly came of age. It felt like I had wandered into a creative wonderland—inspired, intimidated, and elated that I finally found a place that felt right. I even put up my own theater piece there, composing it with my theater troupe, and doing the sound, costume, and set design myself. It felt like I had arrived. 

Photo by KASHILEMBO WABU on Unsplash

My time interning opened up my mind and I felt confident enough to keep exploring. By graduation, I had designed costumes for a short film, taken art direction and set design classes, studied directing and producing, interned for a special event production company, stage-managed a show, attained a minor in art history, studied abroad, and put up multiple original theater pieces. 

Photo by Isi Parente on Unsplash

However, once the anticlimactic reality of postgraduate life set in, I looked back on my many experiences and wondered whether they actually added up to anything cohesive and meaningful. It didn’t help that I graduated into the 2010 job market. It was easy to feel like all the effort I’d put into my undergraduate education didn’t amount to much of anything in the real world. As I wandered through postcollegiate disorientation, hopping from city to city, and trying out different jobs in and out of the entertainment industry, I felt weighed down by nagging doubts. Would I ever be good enough at anything if I couldn’t concentrate on one thing? Would I ever be able to support myself without a “day job?” Would I ever be able to get a day job outside of the service industry? I felt restless, but I still felt guilty about it.

These doubts still haunt me, but less so than when I was a bit younger and greener. I now have the knowledge and perspective of someone who has written, directed, and edited a body of work, screened short films at festivals and racked up years of experience working in film, television, and event production. What I didn’t realize before is that it’s common to bounce from department to department or take time off from one career to pursue another.  It is also totally okay to take time off from filmmaking because you need to work a day job, care for a child or sick loved one, or take care of your own health. In a field as unstable and full of financial barriers as filmmaking, changes are inevitable. Managing your passion for your craft with real-world demands is a balancing act. As circumstances and priorities change, a career will inevitably go through any number of evolutions.

Multimedia is a constantly changing field, and one must make a conscious effort to keep up throughout one’s career. Along with that learning comes paying for classes, trading something you already know and are adept at, and learning on the job. If you’re trying to work your way up starting as a production assistant, it’s great to have multiple skillsets since you never know quite what you’ll end up doing. It is also valuable to have lots of skills in your back pocket to offer in exchange for someone else teaching you the skills you lack. A mentor of mine once described trading art direction work for an After Effects lesson. Finally, there is the practical reality that until you are locked into a union, if that’s the path you choose, it can be easier to get freelance work when there are more roles you can fill.

Photo by Julio Rionaldo on Unsplash

Now that I am directing my first feature, I can see how my varied experience has prepared me for this. It’s essential to be able to wear multiple hats in independent filmmaking. On a typical day, when working on my own work and freelance projects, I utilize some combination of the following: social media, graphic design, grant writing, crowdfunding, blogging, research, correspondence, scheduling, and video editing. These involve wildly different yet interconnected skill sets. On set, I’ve worked in the following departments: camera, sound, art, locations, wardrobe, makeup, transportation, and of course good ol’ fashioned general production assistance (PA). Having many tools in your toolbelt and a spirit of adventure makes you an asset to any production. 

If there’s one thing I could tell my younger filmmaker self, I would say: don’t be afraid of having multiple interests. Embrace it! And don’t worry so much. Pursue knowledge for the pure love of learning, don’t try to force yourself into something because of its perceived market value. Something that you’re not sure about now could end up being one of your greatest assets in the future. “Follow your bliss,” as Joseph Campbell would say, and try not to be too preoccupied with how it will all turn out. Life doesn’t follow a linear path and that’s okay. Real life isn’t compressed into two hours and doesn’t have to follow the audience’s expectations for continuity of logic. Real life is messy and strange and beautiful in its own way.

Follow Cat Tassini on Instagram @disco_nap_art and check out her website. Follow her current project, a feature-length documentary about Trish Keenan, the visionary creative force behind the English experimental band Broadcast, on Instagram @echos_answer, Facebook, and Youtube. 

If there are questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

WOC Filmmakers: Resources for Making Connections

By Cindy Chu

Photo by Erica Lewis on Unsplash

“How are you going to eat?” my mom asked me in Taiwanese. If you’re a woman of color or first or second-generation American, I’m sure your parents have asked you that same question. As a child of working-class Taiwanese/Chinese immigrants and a first-generation American from Queens, NY, filmmaking is the last career my parents define as being “successful”. When I told my mother I wanted to be an actress, she was scared for me. We didn’t know anyone in the industry, and every movie and television show she watched was a sea of white people with barely any Asian American faces. 

The number of speaking roles for non-White actors in major Hollywood films reached a record high in 2019, but on-screen representation for Latinos and women of color still lags far behind other groups, according to a new study https://t.co/zzlxNdrhPs

— CNN (@CNN) September 11, 2020

Fast forward years later, I’m now a screenwriter/filmmaker. Despite starting my career without any industry connections,  I joined the following organizations that help underrepresented filmmakers build connections and find collaborators. Through these communities, I found collaborators for my award-winning projects. In an industry that relies heavily on “who you know” and has a long history of racism, it’s imperative for BIPOC creatives to strengthen their network by joining organizations and communities that value fair access.

NYC WOMEN FILMMAKERS - I can’t say enough how much this organization has saved my ass! From tax advice to hiring crew, it’s helped me find the resources I needed. It’s also where I met Piper Werle of Fourwind Films to write this. There are monthly events that cater to different topics of the industry like editing for film/TV, legal advice from a law clinic, and more. Women, trans women, and non-binary identifying creators who are based in NYC or travel to the city frequently for work can join the Facebook group.

WOMEN OF COLOR UNITE - Their #StartWith8Hollywood mentorship program matches industry mentors with WOC, and it’s a signup process without application fees or numerous essays. If you’ve ever applied to creative fellowships, contests, etc. this sounds like a miracle! They have a Facebook group for both allies and WOC, and a private network for only WOC to share opportunities and network.

GHETTO FILM SCHOOL - Despite its name, it’s not a literal school. They educate, develop, and celebrate the next generation of great American storytellers, and support early career professionals from ages 14-34. I’ve even collaborated with a talented colorist through the organization. You can sign up for their newsletter and join their Facebook group to hear about job opportunities and events.

Last, but not least, HUE YOU KNOW...FOR BIPOC IN MEDIA - It’s a space to ask entertainment-related questions, seek advice, and view or make posts for employment seeking and opportunities. Their members are artists, lawyers, CEO’s, and anyone who works in media. They cover a wide spectrum of careers from Public Relations to Film/TV (scripted or unscripted) and more. BIPOC media folks can join their Facebook group.

As much as the entertainment industry is somewhat improving, like with the Oscars adding a diversity requirement for eligibility, the opportunities for women of color are still not enough. For Asian Americans, the old Hollywood system still finds ways to keep us separate. Take the 2021 Golden Globe nomination for Minari, a Korean-American story that is written, directed, produced, and stars Americans, yet is still considered in the Foreign Language Film category. 

I have not seen a more American film than #Minari this year. It's a story about an immigrant family, IN America, pursuing the American dream. We really need to change these antiquated rules that characterizes American as only English-speaking. https://t.co/1NZbkJFE9v

— Lulu Wang (@thumbelulu) December 23, 2020

The USC Annenberg Inclusive Initiative (2020) notes, “ Looking across all racial/ethnic groups measured, the number of films that erased girls/women from all speaking or named roles across the 100 top films of 2019 was as follows: Hispanic/Latinas (71 movies), Black (33 movies), American Indian/Alaskan Native (97 movies), Native Hawaiian/Pacific Islander (99 movies), Asian (55 movies), Middle Eastern/North African (92 movies), Multiracial/Multiethnic (45 movies). In contrast, White girls and women were only erased from 7 movies." This is largely due to the origins and long history of Hollywood being dominated by white men. This is changing as more women of color, and BIPOC in general, are taking decision-making positions as executives, directors, showrunners, producers, and more.

While @IssaRae could make history at this year's #Emmys, her main priority is making way for diversity at her production companies and beyond: "My longevity will be opening the door for others"

— The Hollywood Reporter (@THR) August 19, 2020

While it can feel daunting starting out in the industry, know that you’re not alone. This is only a partial list of organizations to join, you can also look for specific groups related to your ethnicity or career path. The community you create today are the ones you’ll be rising up with in the future. I hope this blog helps you find your community. 

Additional Resources: 

• AIM (Advocates for Inclusion in Media): https://www.aimcoalition.org/

• Asian Creative Network: https://asiancreativenetwork.org/

• AZNs in Entertainment: https://www.facebook.com/groups/1467650406588819/

• The Black Women Film Network: http://www.blackwomenfilm.org//

• Black Public Media: https://blackpublicmedia.org

• Black TV & Film Collective: https://www.blacktvfilmcollective.org

• Brown Girls Doc Mafia: https://www.browngirlsdocmafia.com/

• The Divas With Disabilities Project: https://www.divaswithdisabilities.org/learn-about-dwd.html

• Free the Work: https://freethework.com/

• In the Cut: https://inthecutla.org/

• Inclusive Film Crews - Diversify the Voices on Your Crew: https://www.facebook.com/groups/inclusivecrews/

• UNPOPCULTR Creators Network: https://www.facebook.com/groups/unpopcultr/

Follow Cindy Chu on Instagram @itscindychu, and on Twitter @cindychuwrites.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Stop Sabotaging Your Creativity! (Part 2)

By Totemworlds

Whether you’re a writer, filmmaker, painter or music composer, the lessons in this article will help you become a better artist.

In the previous article we talked about creating art in a playful manner, keeping a regular creative habit, and seeing the value in being bored. Now we’re expanding into other mindsets that hold us back as artists, and prevent us from creating our best work.

Where you create is important

To create our best work, then we must create in a space that’s not only comfortable, but inviting. No matter how humble or impractical your space may be, it should feel like a sanctuary, a place that allows you to create with ease.

I want you to think about your creative space. Bring into your mind’s eye the place where you make your art. Is it indoors or outdoors? Is there a desk in front of you, or is it just your instrument? Do feelings of joy, peace, or excitement come up when you think of this space? How about your instrument? What kind of feelings arise when you think about it?

If feelings of anxiety or fear come up instead, something isn’t right. It’s normal to feel tension or resistance when you first sit down to create. But if these negative feelings linger, the space where you create may not be optimal. Try improving your space to make it more inviting: perhaps it’s a matter of making everything look neat and tidy, adding a few decorations or artifacts that inspire you; or perhaps the change must happen inward, by consciously working to improve our relationship with this space.

Above is where artist Xnuht records his music. He shares that even though his space is humble, it is also “full of magic.” And his work surely reflects that.

No matter where your working space happens to be, it is special. So always try to summon feelings of gratitude when you start working:

“I am grateful for having this space to create. This is an artist’s sanctuary.”

Say or think these words as you prepare yourself for a creative session. If you have an instrument then say your grateful for it as well. Practicing gratitude is a powerful technique that cleanses any form of negativity. This technique is especially helpful if you work at home.

An inviting working space will allow you to relax and…

Surrender to the process

Having an inviting working space is important, but so is our mental state as we create. In the previous article, I wrote about how we sabotage our creativity by focusing on the end product rather than the process. It’s good to strive for perfection so long as we don’t lose sight of what’s truly important.

Think about your latest work, and how it came to be…

When inspiration first struck you, it probably came as a set of powerful visions and/or feelings: abstract forms which you then gave shape to. Everyone’s experience is unique, but regardless of how it felt, this experience motivated you to put in the work.

And though the end product probably ended up looking (or sounding) different from its initial conception, the link to that experience remained. And what’s so great about your work is not the object itself, but the experience that propelled you to create it in the first place. Does that mean quality is not important? Of course it is, but artists tend to focus too much on the tiny details rather than the big picture (and the big picture is what your audience will first see).

The truth is, your audience will focus mostly on their own experience; they won’t be looking for the tiny mistakes you made, but their impression of your work as a whole. Therefore, you shouldn’t obsess over perfection but over that magical experience you felt when inspiration first struck you. Surrender to it. Let the process take center stage, let it change you as a person, and let the result of this transformation seep into your work…your audience will appreciate it.Your technique will improve in time, so don’t let it stop you from expressing yourself and those magical experiences that move and transform you.

“At its essence, art is an alchemical process. Alchemy is a process of transformation.” Julia Cameron, author of The Artist’s Way.

End of Part 2

You can find the first part of this article HERE. Thanks for reading and be on the lookout for the third and final part of this series.

Follow Totemworld’s work on Youtube and Instagram.

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If there are other questions you want answered in a blog post, let us know at info@fourwindfilms.com. In addition, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And of course, we are always building our community! Send us your work for review or feedback.

I’m a Film Composer, and I Want Every Emerging Director to Read This

By Totemworlds

Every serious filmmaker knows that in movies, what we hear is just as important as what we see. Without music, our favorite films would lose their charm and emotional weight…even our characters would lose a bit of their essence. Thankfully, film composers exist, even though they’re always hiding in their studios, and their job is to unravel all feelings in your film, documentary, you name it!

As a filmmaker, you need to find a film composer who won’t just fill in the silence, but actually support your story in a meaningful way. I have working experience as a film composer and I wrote this short guide for filmmakers and enthusiasts with key tips on how to conceptualize and articulate musical ideas with their composers. Clear and effective communication between director and composer will ensure your film is everything you want it to be, so let’s get started!

Choosing the right composer

All musicians have unique backgrounds, it’s what defines their style and how they sound. Composers are no different, so keep your options open and take your time to listen to their previous work. Find a match for the sound you think would be best for your film. What style of music would be best? Does your budget allow for an orchestral sound, a small ensemble, or piano only? If you’re on a budget, composers can create what are called Orchestral Mock-ups. They’re a significantly cheaper alternative to recording a real orchestra while still sounding convincing. But does your film need music that will stand out or play more of a supportive role? Find a composer who will be versatile enough to do both.

Communicating With Your Composer

Spotting happens when a composer and/or a director decide upon where to (and not to) put music in the film. You’ll probably want to share your ideas right away, but I highly recommend you let the composer speak first. Their experience in the area and their experience in seeing your film for the first time could lead them to bring new ideas to the table. But if they ask for temp tracks then definitely provide them. 

Temp tracks are songs that directors use temporarily on their film to give composers an idea of how they want the music to sound. Most composers love them, but some don’t. Just ask.

Don’t use musical terms to describe what you want

A composer’s job is to translate emotional terms into music, so don’t try to throw in musical terms at them, instead, speak to them in emotional terms. Talk in terms of intensity, and your composer will modify the instrumentation, mixing, and dynamics to match what you want. Talk in terms of movement, and your composer can use musical techniques to keep the momentum going, or make space for quiet time. You should also be clear if you want the music to sound close or play more of a supportive role.

Why (and when) to add a musical cue

Consider the following reasons to add music at any given moment of your film:

• As a narrative tool: take music into consideration right from the start, as you write the script, this opens up new and exciting possibilities. Some of the most memorable moments in cinema rely on music to work. Some examples include a 2-note motif which foreshadows the shark’s arrival in Jaws; an unmistakable tune which plays in Kill Bill every time the protagonist sees her enemies; and who can forget the string players and their last repertoire near the end of Titanic, filling our hearts with empathy towards everyone on that sinking ship.

  A motif is a recurring musical phrase.

Extrait de Titanic - James Cameron

• To set the mood: music is just as important as color-grading and lighting for setting specific moods. And just like a colorist or lighting expert, a film composer will use every bit of information you give them to craft the right sound for a scene. Be clear about the mood you want to convey and include all the little details that make your scene unique. Music is so versatile that composers have a HUGE array of musical devices to work with, so having a pool of information to derive ideas from would help them focus their creativity.

Here’s is a very entertaining video showing the power of music over film.

• To accompany our characters: in fiction, it is common practice for composers to assign musical ideas to any character, this is called a leitmotif; think of Darth Vader’s iconic theme in Star Wars and how menacing it makes him appear. It works for non-fiction too. A news anchor, for example, is greatly benefited from the show’s epic and suspenseful opening song that legitimizes not just the show but also its host.

• To simulate the passing of time: music can be used to keep the momentum going, making sure there are no stagnant moments in your film. Any scene can be made suspenseful using music alone, and more excitement is always welcome. You can also use music as a way to transition to a new scene.

In conclusion

When incorporating a composer give them space to share their ideas, but be clear about how you want the audience to experience specific characters and moments. Work with the composer to figure out how best to communicate what you want, whether that’s by sharing examples of other films or music, details about your story and characters, or describing a feeling.

Follow Totemworld’s work on Youtube and Facebook.

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If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com. In addition, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And of course, we are always building our community! Send us your work for review or feedback.

What is the difference between Reverb and Echo effects?

By Justin Joseph Hall 

Behind the scenes of “Abuela’s Luck” by Ricky Rosario. Photo by Daria Huxley.

Echo and reverb are almost the same audio effect except for one variance, and that’s time.  Reverb and echo are reflections of sound in a space.  However, echo is the more common word and we know it as hearing a reflection of sound return to one’s ear quieter and later than what was said.  Famously on television people shout into a canyon and hear what was said shortly after in fading repeats equally distant apart in time.

Reverb is the same concept as an echo but with a smaller reflection time that often comes back within a second and conflates with the sound that hasn’t finished yet.  For example, If I were to say, “I would like to hear my echo,” and applied an echo effect through some software, I might say the entire sentence and then hear the entire sentence back.  However, if I said the same thing and applied a reverb effect, you could start hearing the effect before you get to the second word of the sentence.  This replicates what it sounds like to hear reflections of sounds from rooms with hard walls.

In some cases in real life, you may hear reverb and echo when short sound reflections (reverb) and longer sound reflections (echo) hit your ear simultaneously.  For instance, when you’re in a racquetball court, you are likely to hear the reflection from a nearby wall quickly, but the far wall may take a bit longer to reach your ear.  This kind of room creates a fun interplay of reflections.  Many rock songs from the 1980s famously use these kinds of combinations to create a feeling of epic vastness.  A great example is Phil Collins’ In The Air Tonight when the drums kick in.

Reverb and echo are not always necessary in film and music, but one should always consider what kind of space you seem to be in when applying these effects.  Longer echo or reverb sound like bigger spaces or great halls or canyons, while shorter, tighter echo or reverb could sound like a cramped space, like a small apartment bathroom.

The sound mixer would need to take these very different spaces into consideration when applying echo and/or reverb. Gif courtesy of HBO.

Creating a space with these 2 effects is one way of making different recordings sound unified.  It’s often part of any type of mixing in film or music.  For instance, if you’re recording music and the drums, amp, and vocals are all recorded at different times with different mics and mic placement, adding a room sound via reverb makes it sound like they may have all been playing at the same time.  It is often used during the mastering process to unify final sounds.

When filming a movie, you may record on location, and then in post-production find your project needs Automated Dialogue Replace (ADR). ADR is a re-recording of lines in the studio to replace the dialogue taken on set. By creating space with reverb and echo you can help unify the different mic’ings within a scene such as location sound mixed with ADR.  This is especially important if the two types of recordings are near one another.

Justin Joseph Hall is a video director, editor, and post-producer who used to mix audio for film, music, podcasts, and mastered songs for Bootsy Collins and others. For any more info or questions about sound mixing and/or mastering, write to Fourwind Films at info@fourwindfilms.com. Also sign up for our newsletter and podcast, Feature & a short where Brian Trahan, our sound mixer, adds reverb.