September 2, 2025 Submissions
General Expert Panel Comments
Comments made by the panel during its assessment of applications submitted to the September 2, 2025 deadline are outlined below. Please note these comments provide a summary of the panel's assessment and do not necessarily relate to every application submitted to this deadline. The panel does not provide individual comments.
Project Descriptions
- Panelists appreciated when applicants provided a one-sentence summary of what they were planning to do at the top of their project descriptions (e.g. “I am requesting $16,500 for production and post-production for a 30-minute documentary on [SUBJECT].”)
- The panel appreciated when applicants clearly outlined what they sought funding for, their plan of action, and provided context on completed work and upcoming activities.
- Panelists emphasized the importance of involving individuals with lived experience or subject matter expertise in projects—whether representing marginalized communities or niche subjects—to ensure authenticity, accuracy, and informed creative input.
- Panelists always appreciated whenever applicants gave a clear detailed vision of how the story could potentially unfold. Particularly with documentary submissions.
- For projects with bespoke techniques, the panel appreciated whenever said techniques were properly outlined. (I.E. various animation practices).
- The panel appreciated applicants who provided clear, feasible timelines, particularly when broken down into distinct project phases such as pre-production, production, and post-production.
- While pitch decks are appreciated as support material whenever relevant, the panelists encourage applicants to adhere to the AFA guidelines, regarding building the Detailed Project Description.
- The panel was more inclined to support more self-contained projects or the final phases of an on-going independent project, over projects that were positioned as "proof-of-concept" reels for future feature film development. Such projects may be better suited to apply for the Alberta Media Fund.
- For projects with a large scope—especially those dependent on multiple unconfirmed revenue sources or external opportunities like film festival submissions—the panel appreciated when contingency plans were included, outlining how the project would adapt if those elements did not materialize.
- Panelists appreciated when emerging filmmakers identified experienced mentors/producers they would work with, noting that support letters from these collaborators reinforced the applicant’s capacity for success.
- For early-stage scripts or applicants with limited screenwriting experience, the inclusion of a script editor strengthened the application.
- Panelists appreciated when the project type (Art Production, Research, Marketing, Training and/or Career Development) matched the activities described in the project description.
- Panelists emphasized the importance of realistic timelines for projects. They felt some artists were not giving themselves adequate time to complete their projects, if awarded funding.
- Because the panel needed to know the full context of your project, they appreciated transparency of information around your project’s narrative, budget and activities.
- The panelists appreciated when applicants showcased how the project will allow them to progress in their practice, in relation to previous works.
- The panelists appreciated when applicants explained what they intended to do with their work once projects were completed. They especially appreciated when applicants described how the finished project would impact their own artistic development in the long term.
- Panelists appreciated when projects showcased potential to resonate outside of the applicant's immediate sphere of influence.
- Regarding documentary projects focused on broad communities and lived experiences, the panelists appreciated whenever applicants clearly communicated the story within said community.
Budget
- The panelists prioritized funding projects with pragmatic budgets that ensured fair compensation for all artists involved, including the applicant.
- For projects more experimental in nature, the panelists liked to see more detail in the budget, as such niche practices require additional context for a panel to properly assess the intent and feasibility of a respective project.
- The panel appreciated when applicants used project phases (pre-production, production, post-production) as headers in GATE and listed individual line items underneath each, rather than grouping all costs into a single line such as “Pre-production: $5,000,” which made it difficult to assess specific expenses.
- The panel appreciated when applicants included enough detail to explain how they justified their expense costs. Where relevant, including quotes, receipts and/or invoices helped. For projects with multiple revenue sources, it was helpful when applicants identified which expense items would be covered by the AFA, and which would be supported by other revenue sources.
- Applicants are encouraged to consider letters of support regarding mentioning any sizeable in-kind services in their submissions.
- The panel emphasized that the budget and project description should align with all activities and costs clearly reflected in both sections.
Support material
- The panel appreciated when applicants labelled their documents as per the example below:
- 01_ApplicantName_AFANumber or Date_DocumentName (Project Description)
- 02_ApplicantName_AFANumber or Date_DocumentName (Support Materials), and so on
- Panelists appreciated when applicants submitted visual support material such as a demo reel or trailer. For projects in post-production, providing sample footage was important.
- Panelists encourage applicants to proof all support material before final submission. Ensure that all uploads and relevant hyperlinks are properly embedded in their respective support documents.
- For projects with a script, writing samples were important as they allowed the panel to assess writing ability.
- Panelists preferred when the writing sample was specific to the project submitted. If this was not possible, samples should reflect the same tone and intent of the submitted project.
- For unscripted projects, the panel found it helpful to see potential story outlines, subject bios, overall themes, in order to communicate a clear execution process and to understand the full scope and vision of the project.