Biz plan

This document and the information contained herein is provided solely for the purpose of acquainting donors and volunteers with Dakar Foundation For The Performing Arts. It is proprietary information to the company. By accepting this document, the recipient agrees to keep the contents in strictest confidence and not to reproduce or further distribute it without the express written consent of an officer of Dakar Foundation For The Performing Arts.

This document is solely a business plan covering budgetary and logistical aspects of the proposed film "For the Love of Liberty."

Dakar Foundation For The Performing Arts 20954 Bryant Street Suite 18 Canoga Park, Ca 91304 Email: kevin@homageusa.net http://www.Homageusa.net

Business Plan DAKAR

TABLE OF CONTENTS EXECUTIVE SUMMARY.......................................................................1 THE APPROACH AND STORY...............................................................2 THE COMPANY...................................................................................3 I.1 MISSION STATEMENT.........................................................................3 I.2 MANAGEMENT AND ORGANIZATION.........................................................3

Kevin Clark DAKAR Executive Director...................................................................4

I.3 STATEMENT OF ETHICS.......................................................................5

INDUSTRY.........................................................................................6 I.4 I.5 I.6 I.7 I.8

DEVELOPMENT.................................................................................6 PRE-PRODUCTION.............................................................................6 PRODUCTION ..................................................................................6 POST-PRODUCTION............................................................................6 DISTRIBUTION.................................................................................7

Theatrical Distribution.................................................................................................7 Foreign Exhibition.......................................................................................................7 Independent Films........................................................................................................7 I.9 FORMAT.......................................................................................18 I.10 LOCATION...................................................................................18 I.11 SCHEDULE..................................................................................19 I.12 BUDGET.....................................................................................20

Above the Line Expenses...........................................................................................20 Pre-production and Production Expenses..................................................................21 Post-production Expenses..........................................................................................23 Distribution Expenses................................................................................................24 DISTRIBUTION STRATEGY..............................................................25 I.13 I.14 I.15 I.16

FILM FESTIVALS............................................................................25 INTERNET DISTRIBUTION.................................................................26 INDEPENDENT THEATERS.................................................................26 INDEPENDENT CABLE TELEVISION NETWORKS.........................................26

DONOR RELATIONS.........................................................................27 I.17 DONATIONS................................................................................27

Online Donations.......................................................................................................27 U.S. Mail....................................................................................................................27 Corporate Sponsorships.............................................................................................27

I.18 VOLUNTEERING.............................................................................27 I.19 DONOR AND VOLUNTEER BENEFITS.....................................................27

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EXECUTIVE SUMMARY This business plan is intended to present an overview of Fallen 66 (F66) and to obtain financing in the amount to complete the pre-production, production, post-production, and distribution for this Visual History Project.

In Section I, we describe in detail our philanthropic mission, our management team and structure, and our code of ethics. To better acquaint the reader with the industry, we provide a step-by-step explanation of the filmmaking process in Section II. Section III describes all creative and logistical aspects of our ambitious film project, Fallen 66, including the story, format, location, schedule, and budget.

We outline our comprehensive distribution strategy to film festivals, Internet, independent theaters, and independent cable television networks.

Section IV provides information on donating to DAKAR, volunteering, and the benefits of becoming a supporter of DAKAR and the arts.

For more information, including updates on casting, production, and fundraising, please visits our Web site at http://www.homageusa.net THE Documentary and Webisode series, Fallen 66 Deals with universal themes such as: triumph of the human spirit, selflessness, civil rights and No-man-left-behind Fallen 66 has many points in common with some of the most successful mainstream films covering military service and the legacy of professional excellence in sports.

Goals: To show the general public the price of liberty and the heroism for those civil rights icon who served in the U.S. Army with distinction yet were left out of the permanent record until now.

Through distribution on all platforms, Fallen 66 will be used as tool for educating people who have not served, or don’t know anyone who has with an insight on how selflessness was pervasive in the men and women who put themselves in harms way. The documentary will allow all viewers the opportunity to experience the U.S. Army through the eyes of men and women who excelled as citizens and celebrities that have served before them.

By showing the patriotism of service men and women in the film and corresponding materials, the U.S. Army will be paying tribute to those who have heroically served while engaging a larger audience interested in a more substantial “what if” question regarding their futures and the futures of those they influence.

To show the general public the price of liberty and the heroism of those that serve and served in the military as well as further educating all on American history.

The campaign will use F66 as a tool for education and goodwill. F66 will allow the general public the opportunity to experience Patriotism through the Legacy of Service, through the eyes of men and women that have served and sacrificed. Thereby sharing their stories and showing their concept of patriotism and service.

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THE APPROACH AND STORY Fallen 66 is an exciting adventure in learning. Teachers can register their classes to participate in this interactive learning experience that will utilize research resources from the National Park Service, Smithsonian, DoD, Universities, Highs Schools.  Fallen 66 is designed for grades 9 th-12t, and Freshman in College. Schools can connect to this broadcast by using streaming platforms to HD Projectors. Curricula are also provided online.  The presentation will provide reenactment webisodes, and narration that covers unique aspects of the topic that may not be touched on elsewhere.  The documentary will provide a long-term website, where students and their teachers can find activities that help students learn the content of the Field Trip.  Dakar Foundation will succeed where others have failed by sticking to one important aspect of American history and ensuring that students, teachers, and all Americans have access to high quality historical information presented in a thoughtful, friendly, and useful style.

Fallen 66 tells the story of men and women who competed on athletic playing fields and served their country on battlefields around the world.

These Men and Woman have been immortalized in folklore yet their contributions have not synthesized for research an scholarship. They were members of an order that can only be described as Heroic. Many of the men and women will be examined in detail as we have access to first hand accounts (diaries) and taped-interviews of those still living will provide a rare glimpse into “why” the served.

Interviews with key subject matter experts, historians, politicians, pop-culture celebrities, and everyday people will set-up the “did you know” vignettes that will provide the basis for a series that will be developed for the F66 social media strategy. (separate attachment) Page 2

Business Plan DAKAR

THE COMPANY I.1

Mission Statement

The Dakar Interactive is dedicated to providing an educational environment to foster cinematic innovation while introducing much needed educational curriculum to underserved classrooms. We seek to empower filmmakers, screenwriters, editors and musicians working under the radar of Hollywood by providing them with a new forum for their work, and by serving as a platform for industry professionals to discover new talent so that they can provide better serve the DAKAR constituency with fact based film projects.

Specifically, we seek to:    

Teach aspiring filmmakers the art and business of independent feature filmmaking and commercial production.

Provide hands-on training and on-set experience in all aspects of film production.

Prepare and assist each individual for their pursuit of a career in the commercial, advertising, episodic television or feature film industries.

Create groundbreaking and innovative independent films.

DAKAR was founded for individuals who share a common passion in mastering this art.

We respect the goals and dedication of all of our volunteers, because the path to making films is not an easy one.

At DAKAR, our objective is not only to educate those searching the field and guide them into a career in film production, but to also provide fledgling filmmakers with the resources and experience to jump start their careers as writers, directors, and producers of independent feature films.

Filmmaking demands the integration of many kinds of knowledge. It is the integration of knowledge that distinguishes DAKAR from many other production companies. Volunteers collaborate directly with industry professionals to learn the intricacies of filmmaking. They learn how all the aspects of filmmaking relate to, interact with, and depend upon each other.

For many film students, the time and tuition required to complete a four-year university program are impractical burdens. The average cost of an undergraduate degree in filmmaking is approximately $80,000. Shorter workshops and seminars may exceed $20,000. We believe that DAKAR participants provide the talent; we provide the instruction, equipment and structure.

I.2

Management and Organization

DAKAR was formed from a diverse management and creative team of industry professionals who are dedicated to focusing their talents and resources on the production Page 3

Business Plan DAKAR

of the film entitled Fallen 66. As an independent production company, DAKAR has advantages over studio systems. The production team is in complete control of the project, meaning that changes to the script, schedule, or budget do not need to be reviewed by committee, thus saving valuable time and money.

Kevin Clark DAKAR Executive Director Executive Producer for

Additionally Mr. Clark has formed www.ipatriots.org a service-disabled veterans owned business that provides strategic (specialty-media) services to the Veterans Affairs and Department of Defense.

Mr. Clark also was responsible for brokering the relationship as Executive Producer for the PBS documentary “ For Love Of Liberty�.

Mr. Clark has designed (DAKAR) and the aforementioned companies with the intention of making innovative media to support active duty and veteran perspectives to the masses.

DAKAR provides volunteers with valuable industry experience, contacts, and skills necessary to pursue careers in documentary filmmaking. Mr. Clark will serve as the Producer, and writer for the production of Fallen 66.

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I.3

Statement of Ethics

•

DAKAR clearly states its mission and purpose, articulates the needs of those being served, explains how its programs work, how much they cost and what benefits they produce.

•

DAKAR freely and accurately shares information about its governance, finances and operations. We are open and inclusive in our procedures, processes and programs consistent with our mission and purpose.

•

DAKAR is accountable to all those it exists to serve and to all those who support it.

•

DAKAR is responsible for mission fulfillment, stewardship and quality: o

Mission fulfillment  Doing what we say we will do.  Maintaining relevance by meeting needs in a changing environment.

o

Stewardship  Maintaining effective governance and management.  Generating adequate resources, managing resources effectively, supporting and recognizing volunteers, and appropriately compensating staff.  Avoiding conflict of interest and abuse of power.

o

Quality Striving for and achieving excellence in all aspects of the organization.

Evaluating the total organization and the outcomes on an ongoing basis.

 

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Business Plan DAKAR

INDUSTRY There are a number of steps any film project takes before it is featured at a local theater.

They are as follows: 1.

2.

3.

4.

5.

I.4

Development Pre-production Production Post-production Distribution Development

During this phase, a script is drafted by or bought from a writer. The screenplay may go through several drafts and rewrites, but once the producer is satisfied with the working screenplay, a preliminary shooting budget is established. This budget must take into account the cost of equipment, film stock, and talent, set design, locations, and other expenses. Simultaneously, the producer will select the key personnel for the project: the director, director of photography, production manager, production designer, location scout, and talent.

While still in the development phase, the producer will approach funding agencies, larger corporations, and personal contacts to raise money for further development and production.

The producer must be able to sell the story and creative talent in order to green light the project.

I.5

Pre-production

Once the development phase is complete, the project moves into pre-production. This is the preparatory or primary planning stage.

It is during pre-production that costumes and sets are designed, the remaining crew is hired, and locations are scouted and chosen. Shooting schedules are also developed and casting continues. Absolutely everything that can be accomplished prior to principal photography is considered.

I.6

Production

Production involves the development, financing and filming of motion pictures. Production is the "active" process of making the film. The script is filmed in studio and on location with actors, full costume, makeup, lights and sound. This is often referred to as principal photography. This stage is expensive, time-consuming, and requires extensive financial and logistical planning.

I.7

Post-production

Post-production is the compilation phase. The director and producer will work with the picture and sound editors in order to assemble the hundreds of shots and sounds taken during principal photography. At this time special effects are added and shots are adjusted technically, aesthetically, and for greater narrative impact. Dialogue is fine-tuned, and soundtrack and audio effects are matched to the visual content. Gradually the film evolves from a rough cut to the finished, polished, final version that audiences will see in theaters.

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I.8

Distribution

Distribution involves the marketing, licensing, promotion, physical reproduction of prints, and the delivery and exhibition of completed motion pictures.

Theatrical Distribution Once the picture is completed and approved, it is marketed and distributed. If the producer has already negotiated a contract with a distributor, the movie will be marketed using advertising in the theaters, television, radio, print media, and online. This process builds an audience for the film prior to the release date.

The distribution of a motion picture involves the licensing of the picture in the U.S. and Canada, as well as the foreign marketplace. The distributor will license the following rights: theatrical exhibition; non-theatrical (educational markets and museums); home video DVD; cable (free and pay); video-on-demand; and television (terrestrial and satellite).

Additional ancillary markets include games, toys, clothing, and music or soundtrack rights.

Even though the major studios have long-standing relationships with the large theater chains and video stores, exhibitors and video companies will "book" the films that people desire to see. Public demand for a specific motion picture product may translate into profit for a film. Even if a film is not profitable domestically, it may recoup its costs and earn a gross profit in the foreign market.

Foreign Exhibition Much of the projected growth in the worldwide film business comes from the international markets, which grew 11.7% in 2000 versus 9.3% domestically. This is due to the growth of multiplexes in Europe, Latin America, and Asia, as well as the rapid privatization of foreign television stations, the introduction of director broadcast satellite services, and increased cable penetration.

Research conducted by the Informa Media Group reveals that global box office revenues are expected to climb by 36% - or $6 billion - between 2013 and 2020 to $24 billion. Over the same period, the global screen count is predicted to remain virtually static - at 149,000, as several territories shed traditional theaters.

The global average ticket price is only $1.90, though, according to the report, this figure reflects the low charges in most parts of Asia, Africa and the Middle East. Ticket prices are expected to fall in several countries, over the period, notably in Japan, as competition intensifies.

Independent Films Independent films are financed and produced by sources other than the major studios. The market share of both independent production and distribution companies has grown in the past decade, spurred by the tremendous successes and profitability of low-budget films.

It is interesting to note that the studios have not entirely ignored the independent market.

A few studios have established "independent" production and distribution arms tasked with helping to feed the distribution pipeline, and therefore add to the corporate coffers.

Twentieth Century Fox has Fox Searchlight, Sony Classics, and New Line. Independent films may also find an audience via the growing network of film festivals, independent film theaters, and the Internet (netflix).

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Interactive Media

Consistent, intuitive and fast branded users interface throughout all pages: The basic structure for the portal will be an Dakar Interactive hosted online broadband social networking that will provide an enhanced and more intuitive informational navigation, streaming multimedia content that will promote user interface and user involvement with “The Fallen 66” programming and broadcast events.

Site multimedia content will enhance use/viewers experience designed to drive traffic and track the audience through online various user online tools. The portal will be targeted to African American Cultural Centers, Smithsonian, United States Armed Forces, Corporation Public Broadcasting, Library of Congress, and the communities they serve.

Development of a “On Demand Portal” which would serve as a Event Website for all historical content related Americans military information. The initial projected content plan is to develop the basic interactive structure online “Exchange Portal” while providing enhanced and more intuitive informational navigation that will promote user interface and user involvement with the site. In addition, Dakar Interactive will develop and engage additional corporate partners, alliances, and sponsors for the online portal.

As an educational component and added value to the vignette series this online historical portal will be developed as an outreach tool. Designed as a social networking interactive historical site to enhance the overall experience of the TV series, which addresses the specific target audience with factual information. The historical portal will be marketed an enhanced informative media companion that will stimulate corporate branding and outreach of project sponsors, advertisers and partners. The online historical portal will feature: - Custom added value interactive site services for searching and displaying information that will accommodate use interest and compelling ongoing visits.

- User database scripting for locating and searching - Full Multi-Media applications - Chronicled timeline - Interviews and back-stories from wingmen and families - Rare historical archival footage and memorabilia - Sponsor Banner with support message - Information on the event and television program - Event behind the scenes coverage - On demand Highlight Reel - Profiles on television program participants - Online Polling - Background on sponsor relationship - Media Partners Directory

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Preliminary Work Plan PHASE I RESEARCH AND DATA 1.1 Organize and activate a team of scholars and research specialists who have the necessary expertise, resources and motivation to assist the planning, research and development.

1.2 Identify a body of scholarly research related to the historic development to present day assessment.

1.3 Identify materials and resources to be utilized in the production.

1.4 Identify topics and their resources.

1.5 Compose a master calendar of events and topics that will have the most audience appeal.

PHASE II PRE-PRODUCTION 2.1 Research and develop the (10) 1 – 2 minute program vignette themes.

2.2 Further shape and develop the content of the proposed television production.

2.3 Completion of detailed script treatments for all vignettes.

2.4 Detailed research, budget preparation and timetable.

2.5 Recruit production staff and crew.

2.6 Select talent.

PHASE III PRODUCTION 3.1 Finalize participants and location sites and create a shooting schedule based on formats, treatments, scripts and crew availability at the location sites.

3.2 Complete shooting of two program episodes.

3.3 Complete a rough edit of the two program episodes.

3.4 Complete first draft of tabletop book, broadcast resource guide.

PHASE IV POST-PRODUCTION 4.1 Submit rough edit to the advisory group for review, comment and evaluation.

4.2 Finalize electronic graphics, keyable elements, animation, and special effects.

4.3 Record narration, and all voices over.

4.4 Finalize musical score.

4.5 Complete the final edit of the (10) program vignettes.

4.6 Host a special screening for advisory group and production participants.

Phase V NATIONAL BROADCASTING 5.1 Develop and implement national publicity strategy.

5.2 Develop and implement national outreach strategy.

5.3 Arrange for national broadcast.

5.4 Arrange for national distribution of the program and resource guide.

5.5 Submit rough version of DVD to advisory group.

5.6 Broadcast the four program episodes on National Television.

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Business Plan DAKAR

Production Strategy 1. DEVELOPMENT Research Writing of the Script Production Schedule and Production Plan Production Budget 2. FINANCING Prepare Sales Materials Domestic and International Pre-Sales Identify Funding Appoint a Distributor (TV Sales Agent) 3. PRE-PRODUCTION Estimate Cost $___ Web Design and Buildout Additional Research Identify Third Party footage sources Identify On Air Talent Final Shooting Script Final Production Budget Web Design and Beta Launch 4. PRODUCTION Estimate Cost $Cost PER Vignette Shoot interviews Acquisition of references copies of all third party footage Shoot studio sequences Shoot performance sequences Rough Cut for clearance purposes 5. RIGHTS CLEARANCES Negotiate fees for Third Party Master footage Negotiate Image and Likeness Rights Negotiate Publishing Clearances Adjust Rough Cut as per Clearances 6. POST-PRODUCTION Formal Launch of Event Portal Fine Cut of "Master Version" of the (10) vignettes Fine cut of Domestic and international versions Fine cut of Theatrical version (if needed) Fine cut of DVD versions Execute all Third Party Rights Agreements.

Purchase Masters of all Third Party material.

7. EXPLOITATION Sell Domestic second window.

Domestic DVD deal Distributor attends all relevant Trade Shows and Markets Sell international Broadcast Licenses International DVD deals

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Brand Awareness This production presents the structure of a branding campaign and recommendations on a strategic culturally themed approach to connect with African American community. The Dakar Interactive team will develop strategic steps necessary to seamlessly integrate brand messaging regarding sponsor products and services to increase public awareness of, access to, and appreciation of products and services.

During the course of the research, the Dakar Interactive team will be able to assist with adding corporate sponsor and partner back stories online and offline to brand presence especially in African American target markets, general markets, and US Armed Forces agencies associated with this production.

Content can be prepared for other purposes (i.e. marketing vehicles, consumer incentives, promotions, community outreach, and public relations, etc…),consideration will be made to fashion a media campaign to reach a larger audience by posting the same fact finding content on web sites and as public services announcements in all media.

This production is an opportunity for corporate sponsors and partners to assist in creating a formidable brand to celebrate the legacy of African American sports heroes that served their country. Being associated with this production allows a corporate sponsor and partners to become the trustee of a unified media collection that documents and preserves the history of African Americans. Through the collection, and its presentation to the public in all media, corporate brands can be identified as a committed partner and supporter of the vital role African Americans continue to play in Americans legacy. 

Positioning - Match resources and services to enhance corporate relationships.



Marketing - Brand product and services at every phase of research, production, distribution, and presentation with relevant custom messaging tailored for direct-to-end.



Promotions - Provide target markets with value added tangible resources and service attributes



Segmentation - Identifying niche groups within targeted communities and influencers that understand and appreciate the importance of corporate support partnership.

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Sponsorship Benefits The corporate partners and sponsors who have a vested interest in presenting “The Fallen 66” to the American public will net considerable benefits including: • The opportunity to link their corporation service or product with one of the most recognizable America institutions (US Armed Forces and Civil Rights in an effort that will be viewed as positive and timely.

• High traffic of potential of loyal consumers • Solidify and celebrate corporate diversity with the US Armed Forces and the communities they serve • The opportunity to include their own commercial message within the format of the vignettes presentation, marketing and promotions, and all public relation activities.

• The opportunity to craft, with producer’s placement and production options which maximize the program’s reach to the specific target audiences sought by the sponsor.

Sponsor Entitlements

This title sponsorship will be primarily responsible for hosting and presenting “Fallen 66”. As Title Sponsor, your corporation will be associated with this presentation will gain relationships and exposure opportunities leveraged throughout 2013 - 2014 and have first optional participation rights for next year’s event and special promotional opportunities during the year. As the Title Sponsor will receive:

On Site Exposure

• Exclusive acknowledgement and recognition as Title Sponsor • Corporate logo listing on all event materials • Photo opts with top celebrities and guests • Corporate executive presenter during press conferences publicity events • Exclusive corporate signage displayed prominently throughout all media • Product placement position Print and Outdoor Exposure • Outside back cover full page color ad in Souvenir Journal • Corporate logo presence as Title Sponsor in ads for all publication • Signage on all posters, and handouts

On-line Exposure

• Fixed logo banner with hyperlink on Event Web portal home page • Fixed sponsored hyperlink along with event banner on media partner websites Corporate Entertainment

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I.9

Format

Fallen 66 will be filmed using advanced High definition digital video (HDV) technology.

HDV is a high-resolution video format that treats video and audio as digital information. In this format the data can be stored, manipulated, and relayed just like any other computer data. Since its introduction to U.S. consumers HDV has rapidly grown in popularity. HDV cameras and editing systems provide consumers unprecedented quality. HDV offers users several important benefits including:  Extremely portable and relatively inexpensive cameras;  Excellent images with over 500 lines of resolution and most importantly, component recording that provides fantastic color reproduction by treating the video information as three separate signals (very important during for your video-to-film transfer);  HD quality stereo sound recording;  The ability to use a high-speed connections Wi-Fi to stream video to the home and hand-held devices. Most importantly we can deliver, the same HD experience on all platforms as the original.  Affordable, high performance DV editing recorders and computer based DV editing systems.

When HDV technology is combined with the storytelling and production techniques of traditional film and video, it becomes an excellent medium to create feature films and documentaries. Projects can be shot in HDV, edited on a low-cost DV editing system, and then distributed on videotape, DVD, or even the Internet.

The camera that will be used is the Red One HD Cinema Camera. It offers extremely high production quality. Recently, producers have been taking advantage of Digital video’s exceptional resolution for theatrical motion pictures. Some TV movies, episodic TV series and commercials that traditionally have been shot on film are starting to be shot on Digital video™. Often a "film-look" treatment is applied to Digital video™ shows to create a more film-like look and feel. HD Digital video™ is also an ideal, high-resolution "mastering format".

I.10 Location Principal photography for Fallen 66 will take place in Los Angeles, California, and Arlington Va.. The Film Commissions in those cities will provides support for all on-location production (e.g., feature films, television series, commercials, industrials/corporate, still photography, short films, music videos, documentaries, infomercials, television movies, theatricals, print, fashion, and training) in the metro area.

Most city-, county- and state-owned property, facilities and equipment may be borrowed or occasionally rented. Permits for filming in national parks, forests, recreational areas and monuments are generally required. Many public and private-owned locations do not require a location fee, but do require advance permission and proof of insurance. To prevent time-consuming delays and unnecessary expenses, DAKAR will contact the corresponding Film Commission pertaining to specific public or private locations far in advance of principal photography.

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I.11 Schedule The following is the projected production schedule for Fallen 66.

Task Description PRE-PRODUCTION Fundraising 25% Funding Milestone 50% Funding Milestone 75% Funding Milestone 110% Funding Milestone Staffing Director Director of Photography Gaffer Boom Operator Sound Recorder Makeup / Hair / Wardrobe Supervisor Stunt and Special Effects Supervisor Production Assistant Casting Technical Preparation Preparation of Shooting Script Cinematography Location Scouting and Scheduling Equipment Rental or Purchase Set Design and Construction Wardrobe and Props PRODUCTION Rehearsals and Read-Throughs Shot Lists Principal Photography Pages 1-5 Pages 6-11 Pages 11-15 Stunts and Special Effects Titles Contingency POST-PRODUCTION Film Editing Continuity, Titles, Transitions Additional Footage Sound Editing Synchronism Dialogue Looping Music Prints Answer Print Final Print DISTRIBUTION Copies for Cast / Crew / Donors Film Festivals and Competitions Page 19

Start Date 8-10-13 9-11-13 6-11-13 9-11-13 11-11-13 11-11-13 6-11-13 9-11-13 9-11-13 9-11-13 9-11-13 9-11-13 9-11-13 9-11-13 9-11-13 11-11-13 11-11-13 8-11-13 11-11-13 11-11-13 11-15-13 11-15-13 11-15-13 12-11-13 12-11-13 12-11-13 12-02-13 12-02-13 12-11-13 12-11-13 12-11-13 12-11-13 12-06-13 12-08-13 12-08-13 12-08-13 12-14-13 12-08-13 12-08-13 12-08-13 12-08-13 12-08-13 12-08-13 12-15-13 12-22-13 12-22-13 11-22-15

End Date 11-11-14 2-11-14 8-11-14 11-11-14 11-11-14 12-11-14 7-11-13 11-11-13 11-11-13 11-11-13 11-11-13 11-11-13 11-11-13 11-11-13 11-11-13 11-11-13 12-11-13 8-11-13 12-11-13 11-15-13 12-11-13 12-11-13 12-11-13 12-08-13 12-02-13 12-02-13 12-11-13 12-02-13 12-11-13 12-11-13 12-11-13 12-11-13 12-08-13 12-22-13 12-22-13 12-22-13 12-15-13 12-22-13 12-22-13 12-22-13 12-22-13 12-22-13 12-15-13 12-22-13 12-22-13 12-22-13 12-22-15

Business Plan DAKAR

I.12 Budget The following is a summary of the projected budget for Fallen 66: Budgetary Item

Total

1. Above the Line

$22,000

2. Pre-production and Production

$288,500

3. Post-production

$22,300

4. Distribution

$25000, Projected Budget

$357,880

The successful planning, production, editing, and distribution of Fallen 66 will require cash expenditures and non-cash donations in the amount of $19,321. DAKAR will utilize volunteers in the production of Fallen 66. No volunteer will receive benefits or salary for work performed; instead, per diem allowances will be paid, as well as transportation, catering, and housing expenses where applicable.

A detailed breakdown of all costs is provided in the following sections.

Above the Line Expenses Acct # Task 1100 Writing 1111 Writer's Fee 1102 Script Copies 1111 Rights

Unit

Qty

Rate

Copies

50

0

Total 0 0 0 $0.00

1110 1111 1112 1111

Producers Executive Producer Producer Copies, Telephone, Postage, Legal

1200 1211 1211

Director Director Director Expendables

Per Diem Allow

8

25

200 110 $300.00

1300 1311 1302 1311

Talent Actor Actor Talent Expendables

Per Diem Per Diem Allow

8 8

110 25

800 200 200 $1,200.00 $2,000.00

Total Above the Line

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0 0 500 $500.00

Allow

Business Plan DAKAR

Pre-production and Production Expenses Acct # Task 3000 Production Staff 3011 Producer / Unit Production Manager 3002 Production Assistant 3011 Production Staff Expendables

Unit

Qty

Rate

Per Diem Allow

8

25

Days

8

20

160 110 110 $360.00

Per Diem Days Days Allow

8 24 8

25 50 25

200 1200 200 110 $1,700.00

Per Diem

8

2500

20,000

30 Days Weeks Allow

19 1

750 75

8,500 75 110 $28,675.00

1

25

25 110 $125.00

8 8

25 20

200 160 0 110

3110 3111 3112 3111

Production Design Prop Rentals Set Construction Art Department Expendables

3200 3211 3211 3211 3206

Set Operations Grip Catering (3 Meals/Day for 8 Days) Grip Rentals Grip Expendables

3300 3311 3302 3311 3306 3308

Camera Department Director of Photography Camera Package Red One Full Camera Package Clapper Smart Slate Camera Department Expendables

3400 3411 3402

Stunt and Special Effects Stunt and Special Effects Supervisor Per Diem Stunt and Special Effects Expendables Allow

3500 3511 3511 3511 3511

Wardrobe, Make-up and Hair Stylist / Make-up Artist Costume Rentals Box Rental Wardrobe, Make-up and Hair Expendables

3600 3611 3602 3611 3611 3611 3606

Electrical Gaffer Equipment Rentals Lighting Portable Light Kit - 3 Arriflex lights and stands Box Rentals Electrical Expendables

3700 3711 3702

Transportation Vehicle Rental Fuel

Allow

Per Diem Days

Total 0 200 110 $300.00

$460.00

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Per Diem

8

25

200

Days

7

60

420 0 110 $720.00

Days Weeks

8 1

25 50

200 50

Business Plan DAKAR

Acct #

Task

Unit

Qty

Rate

Total $250.00

3800 3811 3802

Location Location Rentals Location Expendables

3900 3911 3902 3911 3911

Sound Boom Operator Sound Recordist Equipment Sound Package - Shure FP32 Mixer, Sennheiser Shotgun, 2Tram Lapel Mics, Micron Wireless, XLR Cables and Headphones Sound Expendables

3911

Days

8

20

160 110 $260.00

Per Diem Per Diem

8 8

25 25

200 200

Days

8

160

1280

Total Pre-production and Production

Page 22

110 $1,780.00 $12,260.00

Business Plan DAKAR

Post-production Expenses Acct # Task 4000 Editorial 4011 Editor 4002 Editing Equipment 4011 High-speed Drive Interface 4011 Storage Drives 4011 DV Deck 4006 Editing Software 4007 Compositing Software 4008 8-channel Mixing Board 4011 Optical Tape Backup 4110 Battery Power Backup 4111 Cables, Adapters, Etc. 4112 Post-production Sound 4113 Sound Editing System 4114 Mixer 4115 Tape Stock 4116 DVCAM 60 Minute Stock 4117 HD DV Stock 4118 Master Tape Stock 4119 HD DV Stock 4020 HDVCAM 124 Minute Stock 4021 Mastering Equipment 4022 PAL DigiBeta Deck 4023 Waveform Monitor and Vectorscope 4024 Editorial Expendables 4110 4111 4112

Music Composer Composer Expendables

4300 4311 4302 4311

Titles and Graphics Graphic Designer Workstation and Software Titles and Graphics Expendables Total Post-production

Page 23

Unit

Qty

Rate

Per Diem

8

25

Total 200 0 0 0 0 0 0 0 0 0 0 0

Tapes Tapes

3 6

25 20

75 120

Tapes Tapes

3 2

80 35

240 70 0 0

Allow

1100 $1,711.00

Per Diem Allow

8

25

200 110 $300.00

Per Diem

8

25

200 0 110 $300.00 $2,311.00

Allow

Business Plan DAKAR

Distribution Expenses Acct # Task 5000 Film Festivals 5011 Entry Fees 5002 Travel Expenses 5110 5111 5112 5111

DVD Copies Cast Crew Donors

5200 5211

Other Expenses Overhead, Miscellaneous, Etc.

Unit

Qty

Rate

Total

Events Events

8 8

200 50

1600 400 $2,000.00

Copies Copies Copies

2 11 20

8 8 8

Allow Total Distribution

Page 24

16 80 160 $256.00 500 $500.00 $2,756.00

Business Plan DAKAR

DISTRIBUTION STRATEGY Independent filmmakers have enjoyed tremendous critical and financial success recently.

Smaller production companies and distribution companies are gearing up and independent production is growing even as of this writing. All these developments serve to increase the chances for a well-made, low-budget film.

With production funding in place from independent investors, DAKAR will be in an advantageous position to negotiate a distribution deal. Again, one of the most important requirements of any independent film producer is to secure the best distribution deal for the film with a distributor who will commit financial resources and secure a favorable distribution release pattern.

In order to showcase the talents and achievements of the cast and crew of “ For God And Country�, DAKAR plans on pursuing distribution via film festivals, the Internet, independent theaters, and independent cable television networks. Any and all profits received from sales, distribution, or festival awards will be reinvested into DAKAR for the production of future films.

I.13 Film Festivals Distribution will be sought via domestic and foreign film festivals around the world. These festivals provide independent producers the opportunity to showcase finished films to a large group of distributors and studio executives.

Worldwide Film Festivals AFI Los Angeles Film Festival Berlin International Film Festival Breckenridge Festival of Film California International Film Festival Chicago International Film Festival CineVegas International Film Festival Cleveland International Film Festival Dallas Video Festival Festival International du Film (Cannes)

Miami Film Festival New York Film Festival New York International Film Festival Palm Beach International Film Festival Palm Springs International Film Philadelphia Festival of World Cinema Portland International Film Festival Rhode Island International Film Festival Saint Louis International Film Festival

Florida Film Festival

San Francisco International Film Festival

Hamptons International Film Festival

Santa Barbara International Film Festival

Hollywood International Film Festival

Savannah Film & Video Festival

Hollywood Shorts Film Festival

Seattle International Film Festival

Iowa Independent Film Festival

Sundance Film Festival

Kingman Films International London International Film Festival

Telluride Film Festival Telluride Independent Film Festival

Long Beach International Film Festival

Texas Film Festival

Los Angeles Independent Film Festival

Three Rivers Film Festival

Malibu International Film Festival Melbourne Film Festival Page 25

Toronto Festival of Festivals Vienna Film Festival

Business Plan DAKAR

I.14 Internet Distribution During the past ten years, there has been a surge of growth in Internet-based entertainment providers catering to the 500 million Internet users worldwide. Currently, there are more than 500 Web sites providing such services. Two companies have emerged to lead this burgeoning industry: Shockwave Films Netflix http://www.netflix.com/ , the most comprehensive guide to find and watch feature and short films online. Netflix provides consumers the largest online video-on-demand library in the world, programmed in genre-specific movie channels by film and editorial experts. As the definitive online film portal with over 80,000 films, Netflix offers news, reviews, trailers and movie showcases, as well as robust user communities and a comparison DVD and video shopping guide. Through partnerships with AMC Theaters, TiVo, Yahoo!, and the Independent Film Channel, Netflix delivers filmmakers a global audience of passionate movie enthusiasts.

Netflix provides consumers and businesses alike with the broadest entertainment content including award-winning short films, animations, and interactive games. Netflix distributes content worldwide to multiple traditional and emerging channels, including cable TV, airlines, Internet and mobile/wireless, yielding a diverse and reliable revenue streams for the company. Netflix is capable of offering entertainment anytime, everywhere.

I.15 Independent Theaters DAKAR intends to pursue distribution to independent theaters nationwide. The growing network of independent theaters offers an alternative to megaplex movie going. Most lowbudget features get their initial theatrical release at these venues, attracting adult and college audiences by providing more intimate, personal settings.

One of the best known and successful of these is Landmark Theaters, a national circuit of theaters specializing in showing independent and foreign films. They are the largest coastto-coast circuit with this focus. Established in 1974, the Landmark network has grown to 52 theaters representing 162 screens, coast-to-coast. Landmark is the only national theater circuit devoted to exhibiting independent movies, foreign language cinema, and nontraditional studio films.

I.16 Independent Cable Television Networks DAKAR intends to pursue distribution to independent cable television networks. During the past decade, several cable networks have emerged that feature independently produced programming. The two leaders of this new movement are Bravo and the Independent Film Channel (IFC).

Bravo, The Film and Arts Network, is widely recognized for its innovative and awardwinning programming. Bravo features the best of documentary programs, studio and international film, and theater, dance, and music presentations, and is seen in more than 53 million homes nationwide. Bravo presents such high-profile original series as “Inside The Actors Studio”, “Bravo Profiles”, “Aria & Pasta”, “Louis Theroux's Weird Weekends”, “The Awful Truth” and “Cold Feet”. Bravo is also the official U.S. network of Cirque du Soleil, and will present its exclusive, 13-part original variety show airing on the network beginning in 2011.

IFC is the premier network featuring award-winning independent films, original series, Page 26

Business Plan DAKAR

documentaries, live events, and enhanced new media programming. IFC is the first network to part company with formula-driven features and bring you only the best of the indie film genre. They show movies like “The Opposite of Sex”, “Breaking the Waves”, and “Do the Right Thing”, and also cover live events and film festivals, like the Independent Spirit Awards and Cannes. Their Advisory Board features Martin Scorsese, Robert Altman, Tim Robbins, Joel and Ethan Coen, Martha Coolidge, Jim Jarmusch, Spike Lee, Steven Soderbergh, Ed Saxon, and Jodie Foster.

DONOR RELATIONS Please support our fundraising effort for Fallen 66 and join the growing community of DAKAR supporters. Currently we are in the process of raising the necessary funding for pre-production, production, post-production, and distribution.

I.17 Donations Online Donations Donors may visit our new Web site (www.Dakarinteractive.com) and make online, secure credit card donations (paypal). The entire process takes less than 3 minutes on our highspeed servers.

U.S. Mail For donors preferring U.S. mail, checks or money orders may be forwarded to the following: DAKAR Foundation for the performing Arts.

21154 Bryant Street Canoga Park, Ca 91304 Corporate Sponsorships DAKAR seeks to develop relationships with organizations interested in sponsoring an event. If your organization is interested in sponsoring an event, or has an idea for sponsorship, please send email to kevin@homageusa.net I.18 Volunteering DAKAR offers many rewarding volunteer opportunities, including participation in the development, production, post-production, and distribution of Fallen 66. If you are interested in becoming a volunteer with DAKAR please send email to kevin@homageusa.net All volunteers will:   

Be credited in the end credits of any film in which they participate Will receive DVD copies of any film in which they participate Will be presented with a letter of recommendation upon successful completion of service

I.19 Donor and Volunteer Benefits DAKAR is a nonprofit, 511(3) (c) organization (pending). A portion of your contribution is tax-deductible (Federal ID #943175844. Under Federal tax code section 511(3) (c), Page 27

Business Plan DAKAR

VII. Total Budget : A. Research B. Film Project A. Research Project Cost Estimate Description

Cost

Research Testimony of the last remaining family members of F66,

$1,000

Evaluate potentially valuable sources of reference and research information resources available throughout the US to conduct research on the finding remaining survivors (family) of F66

$1,000

Evaluate the influence and integration of Military/Civil Rights Context into public classrooms to transform the presentation of curricular and problem-solving scenarios and resources of public schools.

$2,000

Evaluate the National Historical Archives, media groups, museums and libraries (genealogical research in Washington), to evaluate historical archives and review original documents regarding the F66 subjects.

$2,000

Evaluate various historical think tanks groups to research and interact with historians. (eg, National Park Service, etc.

$2,000

Evaluate various National Parks, Foundations, Museums, and pubic and non-profit organizations to conduct Fallen 66 research.

$2,000

Transportation Airfare and pre-diem to conduct Fallen 66 research

$15,000

Projected Costs :

$25,000

B. Film Project Total Budget from All lines.

Total from $633,200

Research,

Pre-

Post

Production

and

SAMPLE STATEMENT OF RISK FACTORS Page 28

fulfillment

=

Business Plan DAKAR

Investment in the film industry is highly speculative and inherently risky. There can be no assurance of the economic success of any motion picture since the revenues derived from the production and distribution of a motion picture depend primarily upon its acceptance by the public, which cannot be predicted. The commercial success of a motion picture also depends upon the quality and acceptance of other competing films released into the marketplace at or near the same time, general economic factors, and other tangible and intangible factors, all of which can change and cannot be predicted with certainty.

The entertainment industry in general, and the motion picture industry in particular, are continuing to undergo significant changes, primarily due to technological developments. Although these developments have resulted in the availability of alternative and competing forms of leisure time entertainment, such technological developments have also resulted in the creation of additional revenue sources through licensing of rights to such new media, and potentially could lead to future reductions in the costs of producing and distributing motion pictures. In addition, the theatrical success of a motion picture remains a crucial factor in generating revenues in other media such as videocassettes and television. Due to the rapid growth of technology, shifting consumer tastes, and the popularity and availability of other forms of entertainment, it is impossible to predict the overall effect these factors will have on the potential revenue from and profitability of feature-length motion pictures.

The Company itself is in the organizational stage and is subject to all the risks incident to the creation and development of a new business, including the absence of a history of operations and minimal net worth. In order to prosper, the success of [your film’s name] will depend partly upon the ability of management to produce a film of exceptional quality at a lower cost, which can compete in appeal with higherbudgeted films of the same genre. In order to minimize this risk, management plans to participate as much as possible throughout the process and will aim to mitigate financial risks where possible. Fulfilling this goal depends on the timing of investor financing, the ability to obtain distribution contracts with satisfactory terms, and the continued participation of the current management.

Page 29