Funding and scaling artists' moving image

Artists Tako Taal and Alexis Kyle Mitchell and film producer Pinky Ghundale respond to set questions on the subject of ​‘funding and scaling artists’ moving image’.

Tako Taal is an artist who was born in Wales and now lives in Glasgow, Scotland. Her work has been shown at La Casa Encendida (Madrid), CAPC (Bordeaux), Tramway (Glasgow), Workplace Foundation (Newcastle), Pace Gallery (London), Dundee Contemporary Arts (Dundee), Jerwood Arts (London), Site Gallery (Sheffield), NADA House (New York), Talbot Rice Gallery (Edinburgh).

Alexis Kyle Mitchell (Glasgow/​New York), is a filmmaker and artist whose work critically engages with feminist, postcolonial, and disability studies, exploring how embodied knowledge challenges dominant narratives around space, place, health, and community. Exhibitions include JOAN (Los Angeles), Peer Gallery (London), Glasgow International, GTA24 MOCA Triennial (Toronto), Henry Art Gallery (Seattle), Kunstverein Munich, and Mercer Union (Toronto); screenings at International Film Festival Rotterdam; Beijing International Short Film Festival; The Flaherty Film Seminar and IndieLisboa. Performances at MOCA Toronto, University of Toronto and the New School (New York). Residencies include Cove Park (Scotland), MacDowell (USA), Sommerakademie Paul Klee (Switzerland), and Akademie Schloss Solitude (Germany). Mitchell was a postdoctoral fellow at New York University in the Center for Disability Studies and has an upcoming solo exhibition at Site Gallery in Sheffield, UK.

Pinky Ghundale, Founder of Daya Films, is a film producer with extensive experience delivering film projects and art commissions for leading museums, galleries, and institutions worldwide. She is the long-term producer for Academy Award and Turner Prize-winning artist and director Steve McQueen. Pinky has produced artworks by McQueen that have been exhibited internationally, including, The British Pavilion at the Venice Biennale, MOMA New York, The International Film Festival Rotterdam, Fondazione Prada, The Art Institute of Chicago and most recently the UK National Tour of Grenfell which had its first presentation at the Serpentine (London) in 2023. Pinky has also produced work for a number of other artists including Jane and Louise Wilson, Tacita Dean, Zineb Sedira, Hussein Chalayan, Michael Landy and Zarina Bhimji.

Pinky was Line Producer on the BAFTA award-winning BBC Three part documentary ​‘Uprising’ and for eight years has served as Production Advisor for Film London’s FLAMIN Fellowship Programme. She offers mentoring to emerging artists to support their practice and help steer project ideas forward.

Pinky is currently working with artist filmmaker and animator Saul Pankhurst on his film ​‘Aiden Dreaming’, funded by BFI Doc Society as part of their Made of Truth programme.

Tako Taal: I feel lucky that my films have been funded mostly through commissions. These have been supplemented with grants from, The British Council, Elephant Trust, Hope Scott Trust and Creative Scotland.

The first film I received funding to make was through a £1,500 Visual Artists and Craft Makers Award (VACMA) from Aberdeen City Council. It amounted to what in 2015, newly graduated and working as a waitress, felt like a huge sum. It paid for a new camera lens, zoom recorder, return flights and a place to stay in the Gambia. I spent three weeks working with students at the Gambia School of Tourism and Hospitality, returned home and edited the film in my free time. I did everything myself, in-kind, without pay. This is not sustainable.

Alexis Kyle Mitchell: I have always relied on council funding to make new work. I began making work as an artist in Canada and have made most of my work with the help of the Canada Council for the Arts. I will often wait until I am able to secure some funding (which can sometimes take years given the declining success rates and funding), before I start to make a film that I think will require a budget that is beyond my means. Once the work begins, I will then apply to a host of other funding bodies – private and public art funds, residencies and fellowships that will provide me either funding or infrastructure to be able to work on the project. As my practice has developed and I am given more opportunities to show my work, I will sometimes rely on the small amounts of funding I receive to start or make a project at a smaller scale, which I can then keep working on if more funding is secured at a later date. I have also asked institutions and producers to help me to secure partnerships and co-commissions.

Pinky Ghundale: Each project is different and therefore researching what your options are for funding is crucial. It’s important to think about the form, presentation, audiences and distribution early on to help identify and steer funding revenues most suited to your project. A mix of funding partners is very common as it’s increasingly difficult to be able to fund through one source but also many works are hybrid and presented across different platforms so this can open up the possibilities.

Much of my funding has come from institutions commissioning new work. Projects I’ve produced have used a mix of public and private support: such as through Arts Council England, art organisations and foundations, private donors, collectors and through art institutions, museums and galleries commissioning artists they want to support.

Some arts organisations run open calls, while foundations may approach artists directly and sometimes bring touring or distribution partners. In recent years there has been growth in fellowships and residencies that include funding for R&D, development, or production. These opportunities recognize the need to invest in early stages of practice and provide time for idea development, treatments, proposals, or testing.

As the moving-image field has expanded, alternative funding routes have become more common. Working with charities, community projects, brands, and crowdfunding campaigns can all support production. These routes often require as much time and effort as traditional grant applications but are useful alternatives.

Nurturing relationships with trusted suppliers can provide long term benefits in the form of in-kind support and/​or discounted rates. In return, it’s important to ensure those partners are credited appropriately for their support to honour their invaluable contribution.

Tako: I take the approach that the scale has to change if the funds are too small. Just make the first part or one scene. I don’t think there should be a rush in making ideas come to life. More practically, accounting properly for good sound recording and design always increases the ​“production value” (if we believe in such things) of a work. This is where I have shifted my budgets towards as my practice has developed. And, I would not make compromises here.

A few years ago, I made a spreadsheet of all my film’s production costs. I worked out the daily spend for each film, dividing the number of days spent on the project by the total budget. What became evident is that over time my production days have halved and the funds for each day almost tripled. Essentially for each project I’m now working less, and spending more. The difference being that the majority of labour is paid.

Alexis: My process is already quite adaptable given its experimental nature. I am often figuring out the work as I am making it so if I don’t receive enough money to make the thing I inevitably want to make, I will always begin with engaging more deeply in a process – experimenting formally and allowing new work to emerge from that, while also delving deeper into my research. The work is then formed through this process, which means that it is also always shaped by the resources I have access to. I don’t believe that I end up making compromises in the making of the work, because sometimes the limits are the things that help produce the meaning, but I do tend to make compromises for displaying the work when working with institutions – as sometimes I have ideas and desires that are beyond what is budgeted.

Pinky: Funding shortfalls are common; responses vary by project scale, location, and format.

When funding doesn’t come through it’s disappointing for all, especially when so much time and effort has been put into the application process and especially when this work has been generated with no fee. However, it does also provide a moment to re-evaluate the idea, how it has been communicated and any changes you might make to strengthen the application and proposal. You may have received some feedback on the application so it’s a good opportunity to review and address any points that have been highlighted.

You need to carry out a process of evaluating and strategizing the best approach and way forward, collectively with your key team (if you have one). Whilst exploring what other possibilities there may be for funding it’s a good time to review what could potentially be adapted or reduced if less money was offered. Sometimes it means downscaling which could be the duration of the work or rethinking how it could be produced and presented at a smaller scale. You could consider proceeding with a certain element or chapter and produce a part of the work if some funds are available. This can also be a useful asset for raising further funds as some funders like to see a proof of concept or teaser that visually illustrates the project idea and vision.

Adapting the approach can sometimes work to the benefit of the project as you focus on the essential elements and discover what’s more manageable. Compromises will need to be made but these can prove to be positive outcomes in the long run such as using in camera effects or an editing tool rather than using special effects as an alternative technique. Perhaps there is an archive available in the public domain that can represent an idea that you were looking to achieve through live action. Or a different camera option or lens that still serves the aesthetic. It is an opportunity to broaden the outlook and expand on the initial idea but you also need to feel it is right for you and works within your vision. It’s a tricky balance but working closely with your team and working through options is a healthy exercise.

In terms of adapting, some options could be reducing the number of shooting days, crew and reviewing equipment and your locations which can save on crew and travel costs. When reviewing crew and cast fees, this needs to be handled carefully, ensuring you are meeting industry standards relevant in that country and discussing rates with people directly on what is acceptable and fair. You can consider smaller crew, combined roles or hiring emerging practitioners. In consultation with the artist, the producer will discuss options with the heads of departments to come up with solutions and see where costs can be reduced, always keeping the vision and brief in mind. Similarly, rental houses and post production companies might be able to offer further discounts or agree to staged payments if cashflow is an issue.

A lot of patience and time is required to research alternative funding routes, whilst re-working your treatment and budget package. Your schedule will also need to be amended based on the updated timeline. It’s not unusual to have different versions of your package to present to different funders but you need to consult with your team on the workflow and ensure timelines and availability are aligned and workable.

A lot of what producers do is negotiating. It is a fundamental part of the role and one that continues over the course of the project’s life. However, there can be elements that are non-negotiable such as insurance, legal and safety requirements, rights and clearances and any key creative elements that define the work’s concept and integrity. Decide your non-negotiables early with the creative team so compromises are made strategically, not reactively.

Tako: As an artist, I have turned to filmmaking when I don’t know where the work can live beyond me i.e. I have no exhibition, or tangible public output. In these moments I find the form of the film, something that already has a container, can travel independently and won’t take up loads of space in the studio, very useful to think within. And, I don’t require permission.

When I have limited resources for a project, film is again very adaptable and there is something challenging about making within its constraints. The films I have made with small budgets include ​‘Departures’, for which I limited myself to a single roll of 16mm film. The other was ​‘DUMP_​outthroughthemouth’, made entirely of images from my phone camera taken over the past five years. In this case the footage, so to speak, was free and I devoted myself to the edit. And, when I have had funding I have always used it to buy equipment, a new lens, monitor, or sound recorder. This has meant each time I go into a new project it’s a little bit easier, and the equipment becomes a resource that I can share.

Alexis: I try to make work with what I have available to me at that moment, with the hopes that if I want to scale up the work when I have money, that I’ll at least have a sketch of an idea to start with. I have always surrounded myself with artists and people who creative in a different way than I am, so I spend a lot of my process in communication with others, and if it comes down to relying on other people’s time and labour, then I would try to negotiate a way to barter so that we might be able to skill share. I find sometimes it’s also helpful to go through multiple rounds of grant writing (even self-directed), just so that I’m able to clarify my ideas as much as possible before the funding is secured.

Pinky: It is a challenge but my advice would be to start with making an assessment of the various elements across the work, take stock of what you are able to do yourself vs areas that require support and outside professional input. With limited funds you will need to carefully plan your budget and cashflow and be realistic about what is achievable and what your non negotiables are. You may need to reduce the scale of the project or rethink an approach that is more manageable (such as less crew, less set ups). Don’t rule out in kind support, see where you might be able to access this, plus any sponsorship, private or brand funding. You should also look at alternative funds during production that might be available later down the line but don’t solely rely on these as they are not guaranteed. Take into consideration that it may take longer to create the work with limited resources which should be reflected in your schedule.

When hiring others, it’s useful to research if they have worked on artist projects before. It’s important to find people that will understand the nature of the work, are passionate about the project and have the right sensibility to the work. This helps and contributes to discussions around what is feasible and reasonable to budget for their professional input. It’s important that they feel valued and respected. I would recommend being very clear from the outset on what the funding position is for the project and why you would like them to be a part of it and discuss any rationale for reduced rates. There are a number of approaches to negotiating lower fees but it needs to be in consultation with the collaborator so you can discuss the job in hand, agree expectations of hours and time, role and responsibility and discuss what other roles might be hired in their department so they understand how the department will run as a whole and what support they might have. Being transparent such as letting collaborators know that everyone is being offered a lower rate for example, will save any issues in the long run. I had one project where we agreed for all parties to be on the same rate, which allowed the film to get made on a set budget.

Where possible, you could return to crew that have worked with you in the past to be able to offer them work on projects that can provide a healthier fee than previously. It’s important to respect these relationships and create a fostering and supportive network as well as ensuring they are credited appropriately. In a few cases, there has been the possibility of offering a step up to a higher role in the department and offering the associated credit in lieu of a lower fee. This provides an opportunity for the crew members to demonstrate their skillset and help support their career pathway.

As a standard practice waiving fees should be avoided. This would be unfair and unethical practice. Everyone needs to be paid a fee to honour their input and feel valued. If no funding is available at all, in some cases, artists have collaborated with their peers and offered their skillset (as an exchange). If this method works well it can lead to future paid work when funding might be available for projects and everyone can be properly remunerated.

Tako: Reducing the scale is always the most caring access measure. Reduce what you are asking from yourself and those you are working with. Ask more from funders, commissioning bodies and those in salaried positions.

Account for captions at an early stage of your project planning.

When approaching funders ask if there is a separate budget to support the writing of the applications. Often there is and it is not openly advertised.

Alexis: I think the details of this change with every person, so outside of budgeting for things like closed-captions, audio description, wayfinding aids, or sensory tools, I find it’s helpful to ensure there’s contingency in the budget in order for people to have what they need while working – including time.

Pinky: There is a responsibility and duty of care that the producer should implement. Recognising and understanding what emotional, ethical and relational support looks like across the project as well as assessing what the access, care, inclusivity, safeguarding and wellbeing needs and considerations might be. Where possible, this should be integrated at the proposal stage.

I think what is crucial here is careful planning early on and integrating access and care from the outset. The process from start to finish needs to be considered and should involve key contributors if there are particular considerations and needs to provide a more realistic framework and pacing. Giving your contributors and team the opportunity and autonomy to input and ask any questions as well as stating what their needs are allows for a more inclusive process and helps align core values, expectations, and agreed boundaries. Prioritising consent, safety, legal and wellbeing measures to implement these across the workflow and project schedule.

You may need to;

• stagger call times, review working hours or create private areas for breaks and decompression;
• provide clear written briefs with any potential trigger warnings or explicit scenes when working with sensitive material or subjects
• conduct rehearsals and a short tech run through can also help reduce any anxieties;
• reduce information to short briefs and one page call sheets to simplify the amount of information being shared;
• ensure captions and subtitles are included in the post production workflow.

I’ve been involved in a number of works that have included vulnerable contributors and scenarios with very different needs. From these I have learnt how vital it is to ask questions and not to assume what is needed. Collectively creating a plan so that the approach can be set across the whole cycle of the project and inviting people at various stages for any reviews or feedback. I don’t believe that a limited budget should hinder this way of working and should look to include a wellbeing/​access worker for any high-risk shoots. The project’s workflow and schedule should aim to build in more time than anticipated as a contingency to reduce pressure and allow for any care actions.

There are also numerous charities and support networks that could offer support in relevant areas and perhaps partner on the project. Training is also available through some industry resources such as Screenskills that run free online courses, so I would advise to see what may be relevant for your work and signpost useful resources to your team. These measures can make a big difference in ensuring you feel more prepared and anticipate needs.

Tako: I’ve approached bigger budgets in two ways. One as an opportunity to work with more people, have a larger crew, and to take roles away from me, such as working with a cinematographer, actors and a producer. The second is to greatly reduce the material outcome and pay myself for more research and writing time. Script writing is now an integral part of my practice. For my last project, I organised it to allow for two months paid time for writing and research, which felt like a luxury, and the public output was a 30 minute table read of the script.

Alexis: On bigger budget projects, I will hire more people and delegate more tasks rather than taking on a lot of the labour myself. I will also tend to use more material and might also take more risks and experiment with my approach given the safety net available.

Pinky: The responsibility of handling a project on the whole remains the same and my role is very central and hands on to help shape the work. What changes is how much of that work I do directly versus delegate, and how I structure time and resources.

The job involves multi-tasking and ensuring the project runs smoothly, on budget and time as well as ensuring the creative framework and output meets the intended vision, is innovative, engaging and a productive and enjoyable process for all. On larger budgets delegation reduces hands-on tasks and lets me focus on creative oversight, stakeholder management, and high-level problem solving. On smaller budgets I cover multiple roles which gives a breadth of experience but increases the workload.

I mostly work alone within production but on some occasions have been able to work with production assistants to be able to delegate certain tasks. For example, on one project we had a lot of archive and source footage used which required time for logging and research around copyright and clearances so it was important to have a separate role that was dedicated to this which we earmarked in the budget. On another project I had originally accounted for a location manager as that was a central part of the shoot but as we progressed during pre-production I ended up covering this role too, partly down to budget constraints but also by the time of the shoot I had forged a good working relationship with the owner of the property so it made sense to keep this consistency and build trust.

In some cases, I have taken an overseeing role, guiding artists and arts organisation staff in how they run the project. This still involved creating the budget, hiring crew, overseeing logistics and attaching services to the project but the main difference was not being present for the actual filming itself. Instead, I was more on standby having equipped staff members from the organisation. This approach meant they could learn about production and running a shoot through my guidance and experience whilst staying within the means of the budget available for the work.

When working with more emerging and mid-career artists or for those who are creating moving image work for the first time, or working on a more ambitious and challenging scale, the approach can be quite different here as you lean more into guiding the artist through the life cycle of production; such as the various processes, techniques and terminologies used, etiquette on set, working with actors, using special effects or guidance around the presentation of the work for various installation configurations.

On larger scale projects and budgets you are certainly handling more if there is a larger crew or the work requires shooting abroad or the work entails a lot of post-production work. Your budget is likely to include more line items, plans for staged payments and conditions and more phased timelines. Whereas a smaller budget is likely to have more compressed timelines, more multi-tasking and creative workarounds including seeking in-kind support.

Across both scales there is a similar level of creative involvement, mentoring and duty of care. The larger scale projects allow for some outsource of operational tasks whilst handling more stakeholder relationships and reporting across departments. With smaller budgets, there tends to be more hands-on mentoring and practical coaching for artists especially if they are new to moving image production. Both require rigorous planning, excellent communication and attention to wellbeing.

Tako: Ambition I find often equates to financial or production scale: bigger and faster. Working over longer time scales I think is inherently ambitious. Working slowly and being confident that the project can manifest over a series of chapters, is super sexy.

Alexis: I am not an artist that takes a lot of risks financially, so I really do use the financial constraints as a boundary or limit on what I am able to produce. It’s quite difficult to scale the ambition of something without increasing the budget! In my experience, this usually happens when people are willing to work for free or for less than what they should be paid. There are ways of cutting costs on materials – for instance, I develop my film myself at a film co-op instead of dropping it off at a lab to be processed. But this also radically alters the aesthetics of the film, which is then an artistic choice. I guess it’s always possible to make things more affordable, but one has to be happy with the results of those choices. So I try not to make decisions based purely on finances, rather try to understand if those constraints or aesthetic shifts can do something interesting for the work I’m making.

Pinky: Ambition is so personal to each work. It can mean many different things; creating a work that is more ambitious for you as you are working with a new element for the first time; with a director of photography, choreographer, actors or sound designer or creating a multi screen installation work or handling a budget with a number of funders on board. This has certainly been the case with projects I have produced, with no increase in budget.

What made these possible was thinking more laterally and making the most out of our networks within the industry. Thinking of how we could achieve a certain production value with a set budget. Being honest about the budget and reaching out for in-kind support where possible. Working through the elements of the project to see what can make an impact on people; perhaps the theme is important to highlight, if it raises awareness, is political, social and will resonate. Emphasizing these might attract collaborators to your project, opening up the possibilities.

A track record also helps with securing partners and potential collaborators on a set budget. Having successfully completed numerous moving image projects of varying scales over the years, suppliers and contacts have shown continued interest in being involved in new works. They will hopefully want to re-engage and will be open to discussing how they can add value and bring their expertise on board, offering software and tools, discounts or more advanced technology to push the creativity further.