Rooftop Films sets aside $1 from every ticket sold and every submission fee received and gives it to alumni filmmakers in the form of grants for their film productions. Only filmmakers who have screened a movie at Rooftop Films' festival are eligible for grants. We also grant additional cash courtesy of our sponsor GarboNYC, and service grants courtesy of our sponsors at Eastern Effects, Edgeworx Studios, Brigade Marketing, Technological Cinevideo Services, Nice Shoes and Sound Lounge.

In the fall of 2016 round we have seven grants for artists making feature films (more than 50 minutes). If you would like to apply for a Short Film grant, you are on the wrong page! To see the Short Film grant guidelines, click here. 


If you are an eligible filmmaker and plan on applying, please RSVP as soon as possible by clicking on this link and filling out a simple form. This way we can gauge how many applicants to expect and will know to look for your application, lest it get lost in some way.


The 2016 Rooftop Films Filmmakers’ Fund Feature Film Grants are:

The Rooftop Filmmakers Fund Feature Grant, Sponsored by GarboNYC


About the grant: As proud supporters of Rooftop Films, GarboNYC has made $25,000 available in cash grants for one or two feature-length films to provide funding for key cast and crew.

About GarboNYC: GarboNYC is a transgressive clothing company that was created by stylist Anett Gabriel, who had a desire to pay tribute to working class women and their sacrifices during the westernization of Hungary. Originally designed as utility footwear, used by nurses and waitresses during the socialist era, GarboNYC became a brand that reclaims and reimagines utilitarian wear for the independent woman. Each product is carefully made, in capsule releases on an anti-fashion calendar, in ways that uphold living wages and working conditions, employing the original plant in Hungary.

Rooftop Films and Brigade Marketing Festival Publicity Grant

About the grant: Brigade will offer one feature-length film full publicity services for the film's North American premiere. (Valued at $15,000 in services)

About Brigade Marketing: Brigade knows that audiences are constantly evolving, so they stay a step ahead by pushing beyond the basic publicity and marketing model. Their cutting-edge campaigns generate buzz and demand attention by engaging with core consumers on every level. In short, they get it. Brigade's seasoned, peerless team of client and agency players knows how to break through the clutter of entertainment promotion with unparalleled industry expertise, innovation, creative capabilities and account service. Brigade brings entertainment brands and their audiences together.

Rooftop Films / Nice Shoes Color Correction Feature Film Grant


About the grant: Nice Shoes will provide one Rooftop Films alumni with a package of color correction services for one new feature film. The package will include prep, color grading, and delivery.

About Nice Shoes: As a creative partner for feature filmmakers, Nice Shoes has helped bring critically acclaimed films such as Lovesong, Pitch Perfect 2, Heaven Knows What, These Birds Walk, The Invisible Front, Arias with a Twist, and the Academy Award-nominated Garbage Dreams to the big screen. We are equally adept working from concept through completion or anywhere in-between, including production, design, color, finishing or visual effects.

Rooftop Films / Sound Lounge Sound Mix Feature Film Grant


About the grant: Sound Lounge will provide one Rooftop Films alumni with a package of sound mixing services, including use of sound mixing facilities and the services of a professional sound mixer, for up to 40 hours of sound mixing and 8 hours of playback and notes.

About Sound Lounge: Sound Lounge is an audio post-production company that provides creative services for TV and radio commercials, feature films, television series, digital campaigns, gaming and other emerging media.

Rooftop Films and Eastern Effects Equipment Grant

About the grant: Eastern Effects will award 30 days of lighting and grip equipment to one feature-length film.

About Eastern Effects: Eastern Effects is film production rental house based in Brooklyn. Since 1999, Eastern Effects has been providing Lighting & Grip Equipment Rentals for Independent Feature Films, Television Productions, Corporate & Industrial Videos, Student Filmmakers, and Live Broadcast.

Rooftop Films Technological Cinevideo Services Camera Grant

About the grant: TCS will award 21 days of high-quality camera and lens equipment for one feature-length film.

About TCS: Technological Cinevideo Services has been the rental home for world-famous professional motion picture equipment for more than 30 years.

Rooftop Films and Edgeworx Post-Production Grant

About the grant: Edgeworx will provide 1-2 weeks of post-production services to one feature-length film.

About Edgeworx Studios: Edgeworx Studios is a post-production house based in Manhattan. With a sixteen-year track record, Edgeworx provides full service production and post-production. Their areas of expertise include motion graphic design, animation, VFX, editorial and finishing.



How to Apply:


•  If you plan on applying, please fill out this quick RSVP form, so we know how many applications we might be expecting and we can keep an eye out for your application.
•  Complete the online Feature Film Grant Application Form. The form is the same for each of the feature film grants.
•  If you are applying with more than one film, fill out a separate application for each film.
•  Download budget form for the Rooftop Filmmakers'; Fund Feature Film Grants.
•  You are also welcome and encouraged to send footage, rough cuts, fine cuts, etc. in any format. Online links are preferred (password protection is acceptable). Please include a link and password in your application form.
•   You cannot edit the application form once you submit.We strongly recommend you fill out a copy of your application in a separate document and save that for reference.



•  Applications must be received by 11:59pm on October 28th, 2016.
•  Applicants notified: no later than December 6th, 2016.

Frequently Asked Questions

Who is eligible to apply?
Only filmmakers who directed or co-directed a film that has already screened at a Rooftop Films event are eligible to apply. Alumni filmmakers can only apply for a grant if they are director or co-director on the film for which they are applying.

I was the producer or writer on a film that screened at Rooftop. Am I eligible to apply?
No. Only directors who had their work screened are eligible to apply as directors. We appreciate that film is a collaborative medium, and respect the contributions of all the collaborators, but with over 2,500 directors who have now screened at Rooftop Films, we must limit the grant eligibility to that pool. In this way, we can more clearly judge the director's vision for the new film.

I am Rooftop alumni director and I am the producer but not the director for an upcoming film. Am I eligible to apply?
No. Alumni filmmakers can only apply for films that they are directing or co-directing.

I do not know when my upcoming film will be completed. Can I still apply?
Yes. But we are more likely to award grants to films that have a relatively well-set timeline for production.

Can I apply with more than one project?
Yes! You should apply for all of the grants that you are eligible for, as long as you are certain that you can make use of the cash or services, should you be awarded the grant. However, please do not apply for a grant if you don’t think you can use the services (for instance, if your film is shot entirely in natural light, don’t apply for the Eastern Effects grant. If you already have completed your shooting, don’t apply for the camera grant from TCS, etc.)

Can I be awarded multiple grants for the same project?
It is theoretically possible, but usually we only give one grant to each project. But if there is one grant that you think would be particularly useful, please indicate that in your application in the answer to the question, “How will you make use of our grants?”

Do I have to have already been accepted into a festival in order to be awarded the Brigade Festival Publicity grant?
No, but if you have been accepted into a festival you should definitely include that information in your application. Also, to be awarded this grant, you should be planning to premiere your film within 12 months of being awarded the grant.

Can I apply again with the same film if I didn't receive funding the previous year, or if I did receive funding?
Yes and yes. Many of the films we have funded were films that had applied in multiple years.

What are my obligations to Rooftop Films if I am awarded a grant?
The answer varies a bit depending on which grant you receive, but for most grants the minimum requirements are:
    •  You must agree to give Rooftop Films the option of screening your film at a public screening within 12 months of your world premiere, and prior to a theatrical release of the film, unless otherwise mutually agreed.
    •  You must include thanks and acknowledgment to Rooftop Films and any other sponsors associated with the grant you receive in the credits of your film and on your film website.
    •  The filmmaker must produce the film as outlined, to the best of their ability, and complete the project within 18 months of being awarded the grant.

When is the next set of deadlines?
In general, the application is open in the fall of each year,, with a deadline in late October, and grants awarded in December. Check back closer to those dates for specific details from year to year. Also, if you are an alumni filmmaker, make sure you are on our filmmakers email list for updates. Send an email to filmfund [at] rooftopfilms [dot] com to stay current. If you have further questions, please email Rooftop Artistic Director Mark Elijah Rosenberg at filmfund [at] rooftopfilms [dot] com.

Do I have to submit a video sample or still images? If so, what is the best material to submit?
It is not required to submit a video sample, but iIf you have a video sample or still images, we recommend you submit them. After all, you're making motion pictures. We know there is often a fear of showing incomplete work, but usually something concrete and visual is more enticing than mere description. We are accustomed to looking at works-in-progress, and are trying to help you complete it. By showing us material, you make a strong case that you will in fact complete the film.

If possible, to give the most complete picture of your film, we recommend you submit three work samples in one or two video links:

    •  a trailer (2 minutes), to show the emotional and visual spark of the film
    •   representative scene (5 minutes), to show what the film is like
    •  a rough cut, to show the entirety of the story and scope of the film

If you do not have any or all of these elements, that's understandable. Many filmmakers have received grants before they shoot or edit. But if you do have live footage, please submit it. If you don't, we recommend submitting a look book, a series of stills or sketches, or something to visually represent your film.

What type of films does Rooftop Films fund?

We are open to any genre or type of film, but in choosing our grantees, we are biased toward:


•  People who we can be confident will actually produce another movie with these resources.
•  People who do not have access to other resources.
•  People who use money and materials sparingly and wisely.
•  Films that are daring, unique, intelligent, soulful, honest, brilliant.
•  Short films of any and all genres which operate outside mainstream, feature film traditions and aesthetics.
•  Films with women and people of color in primary production roles.
•  These are NOT requirements, just qualities we value. We fund many films that do not fall into those categories, from comedies to experimental films, films with big budgets and small, films by all types of people. If it's moving pictures by our alums, and it's going to be great, we want to support it.)
•  We need to be convinced that you will make this film as it as presented and in a timely fashion. If you can provide a production schedule and convincing reasons as to why you will adhere to it, that's great.
•  We often fund specific line items in your budget, so the more specific you can be, the better.
•  We will fund any element of pre-production, production or post-production.
•  We are more likely to fund films for which this grant will have a large impact. That is, we are more likely to fund $3,000 of a $3,000 total budget than $3,000 of a $30,000 total budget. (Though we will provide funds for bigger budget films, too.)
•  We are more likely to fund films where there is thought to how the film will be used in the world in coordination with a community engagement campaign and/or ongoing efforts for social justice.
•  We are also more likely to fund films that make the most of their resources and community. For instance, we are more likely to fund the salary of a DP who is donating use of his own 16mm camera than we are likely to fund the rental of a 16mm camera from a corporate rental house. We are also more likely to fund the purchase or fabrication of materials that you will be able to use again, instead of a one-time rental.
•  That said, those are guidelines, not requirements, and we will fund films of any budget, scale or production means. Most of all, we want to support great cinema in crucial ways.


Grant-writing Questions and Advice:

What is the best way to answer the question “How will you make use of our grants”?
Be specific, and know exactly what each grant provides. In each case, tell us why and how the grant will improve your film.


• The Rooftop Filmmakers’ Fund Feature Grant, sponsored by GarboNYC, is intended only to support the fair wages of cast and crew working on the film. We are particularly interested in allowing a film to pay an individual who will make a crucial impact on the film, such as augmenting the cast, or bringing in a vital crew member the production couldn’t otherwise afford. The grant should not be used for equipment, services or overhead. In your application, under “How will you make use of the selected grants,” please make a clear and compelling case for how you will utilize this cash to fulfill the intended purpose of the grant.

• The Brigade Marketing Festival Publicity Grant will support the festival marketing for the North American premiere of a feature-length film. The grant is intended for a film that is complete or near-complete and is aiming to premiere in 2017. Brigade will work with you to create a marketing strategy that will get attention for you film. If you already know your premiere, let us know. Read about what Brigade does here and tell us how you plan to work with them. The services of the grant will be up to a value of $15,000.

• The Eastern Effects Equipment Grant provides their Three-Ton City Lighting Truck Package (vehicle not included) to one feature-length film for 30 days. The basic details of the package can be found here. Some substitutions are possible, depending on availability and cost. The package must be picked up in Brooklyn, NY, but can be used anywhere.

• The Technological Cinevideo Services Camera Grant provides 21 days of high-quality camera and lens equipment for one feature-length film. Read about TCS equipment list here. The package must be picked up in Manhattan, NY, but can be used anywhere. The selected film will receive a full camera, lens and peripherals package. Availability subject to change, but the further in advance you know your shooting dates, the more likely it will be that you can retain any package you choose.

• The Edgeworx Post-Production Grant will provide 1-2 weeks of post services to one feature-length film. Edgeworx areas of expertise include motion graphic design, animation, VFX, editorial and finishing, and you can read more about their work here. Previous grants have done titles and graphics, image cleanup and removals, compositing and special effects. Edgeworx is based in upstate New York, but work can be done remotely.

• The Nice Shoes Color Correction Grant will provide a package of color correction services, including use of color correction facilities and the services of a professional colorist, equivalent to the amount of $60,000 (or less), to be used for an independently produced feature film directed by a Rooftop Films alumni director. The package includes prep, color grading, and delivery of a feature film project, by Nice Shoes, with a base standard package that will be the minimum provided. Nice Shoes will determine the colorist to match up with the grant winner based on the desired color grading style of the film. Delivery is defined as one Master DPX Sequence, and one viewable Quicktime reference file. Any additional deliverables would be at cost to the filmmaker, with price negotiated with Nice Shoes.

• The Sound Lounge Sound Mix Grant will provide a package of sound mixing services, including use of sound mixing facilities and the services of a professional sound mixer, equivalent in value to the amount of $30,000 (or less), to be used for an independently produced feature film directed by a Rooftop Films alumni director. The package will be based on a list of possible services, provided by Sound Lounge, with a base standard package that will be the minimum provided, including: 40 hours of sound mix facilities working with a sound mixer, 8 hours of playback and notes at Sound Lounge, 10 hours of local ADR, and 3 weeks of sound edit. Services would not include deliverables (printmaster, M∓E, DME), foley costs, or remote connectivite, i.e. ISDN or Source Connect.

What’s the best way to answer the question, “Tell us about the film you are making – what is the plot, what will we see on screen?
We think 400-800 words for this section are good length to aim for. Be literal: This scene, then this scene, then this scene, then the finale. An outline format works (but do keep it dramatic, emotional).

When writing a narrative, from scene to scene, always think in terms of “so therefore” and not “and then.” For example, don’t write, “Mark rings the doorbell but no one answers. Then Mark walks across the bridge.” Instead, write, “Mark desperately rings the doorbell over and over, but no one answers. So therefore, feeling alone and dejected, Mark shuffles to the bridge.”

Don’t tell us back story or character history if it isn’t going to be in the movie. So don’t tell us, “Mark has been lonely ever since his parents died when he was 13” unless you have some way of conveying that on screen. Such as: “Mark visits a graveyard, laying flowers on stones marked “Beloved Mother and Father,” the death dates now in the distant past. His head down, he passes a parade without thinking to celebrate and returns to his sparse apartment to check his email: nothing.”

We do not want teasers, cliffhangers, mysteries, open-ended questions, etc. We want to know what happens. The sort of synopsis which takes us right up to the point where the story makes its decisive turns is great for press releases but not right when you’re seeking funding. Although Rooftop’s role in getting this film made may be relatively small, in many ways we are like producers, and we want to know exactly what we’re getting. So tell us point by point what happens in your whole story.

What’s the best way to answer the question, “Tell us about the film you are making — what is your artistic vision, what is the significance of the film?”
This question is pretty open-ended, but here you can tell us about what drew you to the subject matter, what passion you have for it, and why you think other people will care. You can also tell us about the tone and the style of the film. If you would like to reference other films, your own or those of others, that can be helpful. The grant panel will have seen your other work, so saying whether it will be similar or dissimilar to what you’ve previously done can be a useful comparison.

What is the best way to answer the questions about our production and post-production plan, schedule and needs?
Tell us your timeline, as specific as possible.

Tell us your collaborators, briefly. (We don’t need bios, just that an editor is on board, or a DOP, or whatever is crucial).

And most importantly, relate your answer to the grants for which you are applying. If you are seeking a cash grant, what will the cash be spent on? If you are seeking an equipment or service grant, how will the grant serve your project specifically?

I am making a fiction film using an improvisational technique, so I can’t provide the story yet – or –– I am making a non-fiction film using an observational technique, so I can’t provide the story yet . . . so how can I best tell you about the film I am making?
If making fiction based on improv, what is the core story you have in mind, or the feeling you’re trying to discover, or the idea you’re exploring, or the tone you’re setting? What are you telling the actors to start them in the process, and what do you do to take them from scene to scene? How will you build this improvisation? What will you shoot? Where will you be? What problems do you hope to tackle?

Similarly, if making non-fiction, what drew you to this subject? What emotions, ideas, stories? How do you hope to capture it? Through purely observational footage? With or without language? With voice over? With titles? What structure or possible structures can you see it taking? Will it be structured by a plot, or through a series of characters, or by different themes within the subject matter (ex. a section on health care law, then a section on the pharmaceutical industry), or by some over-arching structure (ex. “A day in the life of...”). You may not know exactly, yet, but how are you planning your shoots or approaching your editing process?

Need More Advice?

All filmmakers are encouraged to email Rooftop Artistic Director Mark Elijah Rosenberg at filmfund [at] rooftopfilms [dot] comwith a draft of their application for advice, or call 718-417-7362. When asking for advice, please focus on specific questions. We can only really advise how to make your application more clear, or offer personal non-binding advice on the filmmaking. The advice we most often give is to describe what we will see on screen more clearly. Due to time constraints, we can only provide one round of notes, and cannot guarantee feedback in the final week before the deadline, but simple questions are welcome any time.

Selection Process:

The grants will be decided by a panel made up of Rooftop Films staff, founders and invited panelists. There may be things we would want to see changed in the proposed project, or we may want to participate in the production in order to provide funding. If you are not comfortable with our suggestions, there will be an opportunity to tell us if a second round comes into play. There will likely be follow-up questions, but no formal second round of applications.

Payments / Reporting:

If you are awarded a grant, you will be expected to file one simple progress report and one simple completion report, which we will send to you at the appropriate times. You will need to sign a grant contract before receiving support. You can read a full copy of the contract here. The key provisions are:


• The filmmaker must produce the film as outlined, to the best of their ability.
• The filmmaker must produce the film within 18 months of the grant award.
• Funds and services will not be allocated immediately, but for specific services as needed.
• The filmmaker must allow Rooftop Films the right to screen the film within 12 months of the official world premiere, before theatrical or TV release and preferably before any New York screenings.

Good luck! We’re excited to hear about your films, and to help them get made and get screened on the roof.

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About Rooftop Films

Rooftop Films is a New York based non-profit whose mission is to engage diverse communities by showing independent movies in outdoor locations, producing new films, coordinating youth media education, and renting equipment at low cost to artists.