About movieScope Magazine

Launched in 2006, movieScope Magazine has established itself as the UK’s only dedicated, 80-page full colour print magazine for film (and television) industry professionals.

movieScope’s uniqueness lies in its remit to explore the various aspects of filmmaking from the perspective of the filmmakers themselves.

Each issue features contributions by key industry professionals and established professional journalists and filmmakers from Hollywood, UK/Europe, the Indie film scene and other global movie hotspots. The result is an informative, entertaining read filled with practical advice, encouragement and behind-the-scenes information.

movieScope has interviewed and featured filmmakers such as: Nicolas Winding Refn, Anil Kapoor, Emma E. Hickox, Ari Folman, Darren Aronofsky, Christian Bale, Robert Altman, Helen Mirren, Christopher Nolan, Philip Seymour Hoffman, Marc Forster, Len Wiseman, Alec Baldwin, Anne V. Coates, Frank Marshall, Michael Cerenzie, David Morse, Michael Kahn, Janusz Kaminski, Eric Roberts, Julie Delpy, Roberto Schaefer, Lorenzo di Bonaventura, David Koepp, Alexandre Aja, Mark Waters, Jason Isaacs, Mike Hill, Catherine Breillat, John Dahl, Stephen Rea, Garth Jennings, Barbara Machin, John Logan, Jack Davenport, Steven Moffat, Nandita Das, Jason Reitman, Salma Blair, Philippe Claudel, CCH Pounder, John Landis, Orian Williams, Doug Jones, Sergei Dvortsevoy, Katee Sackhoff, Richard E. Grant, Jean-Claude Carrière, Simon Pegg, Emillio Estevez, Joe Medjuck, John Logan, Arnaud Desplechin, Damian Kindler, Samantha Morton, Rob Cohen, Joe Wright, and many more.

Editorial Content and Direction:
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Published bi-monthly, each of movieScope Magazine’s 6 annual issues uniquely covers collaborative industry disciplines all sourced from an insider’s P.O.V.

IN FOCUS A regular 6 page in-depth, exclusive cover story where world-class industry professionals, from actors and writers to producers and directors, discuss their craft with our experienced stable of international journalists and fellow filmmakers. The inclusion of a cover feature will often correspond with the release of a new film offering the opportunity for advertising tie-ins.

INSIDER’S P.O.V. 6 regular 3-4 page columns on DISTRIBUTION, DIRECTING, ACTING, WRITING, PRODUCING and EDITING. The columnists themselves are working filmmakers, offering unrivaled insight and comment.

FEATURES Up to 10, 3-page articles featuring industry and individual profiles, international comment, specialist interviews, technology profiles, studio focus and major festivals round-ups.

DEPARTMENTS Regular 1-2 page articles of comment, opinion, resources and advice with titles such as Location Management, Film Taxation Schemes, The Soap Box, DV Filmmaking, Indie Filmmaking, Script Talk, Genre Closet, DocuScope, Fading In, The Guerilla Guide To… and others.

Why advertisers choose movieScope

movieScope is uniquely positioned to offer advertisers direct access to over 30,000 writers and filmmakers each year through highly readable and well-designed magazine. Our content is written by working industry professionals with an in-depth knowledge of the business of making film and television. For a detailed introduction to our contributors list, please see here.

movieScope advertisers have included: USA/CANADA: Paramount, Universal, Warner Bros., Hollywood Camera Work, Final Draft Inc., Entertainment Partners LLC, Toon Boom Animation (Canada), Write Brothers, Michael Wiese Productions, Scriptapalooza, Seminar Associates, Innovative LLC, Mariner Software, Passion River Films. EUROPE: Korda Studios (Hungary), Sony Pictures. UNITED KINGDOM: Film Hampshire, The Collective, The Works UK Distribution, Kays Production Directory, Documentary Filmmakers Group, CobraVision, Encounters Short Film Festival, Production Base, Movie Outline, Screenwriter’s Festival, Sci-Fi London, Aaduki Multi Media Insurance, Canary Wharf Film Festival, The Script Factory, Shooting People, Wallflower Press.

movieScope READERSHIP (PRINT) movieScope is squarely aimed at those working in and aspiring to work in, the film and television industries. 65% industry professionals including filmmakers, writers, actors, technicians, industry organizations and film schools. 35% freelancers, independent filmmakers, writers, student and film enthusiasts with a passion for film.

PROFILE AND CIRCULATION movieScope’s average print circulation is 5000 copies per issue (January 2007 – December 2008) and covers a mix of paid subscribers, newsstand sales and most importantly, controlled, targeted circulation at all the major UK Film and Television Studios (including Pinewood, Shepperton, Elstree, Ealing, 3 Mills, Twickenham and Teddington) and post production houses.

Additional circulation is achieved at high profile industry events, at film festivals (Cannes, Edinburgh, London) and directly through industry organizations memberships.

2009 Editorial Calendar

VOL. 3, NO. 2 2009 (JULY/AUGUST ISSUE) THIS ISSUE’S THEME: “THE NARRATIVE POWER OF VISUAL EFFECTS…” Technological advances have reshaped the visual effects and animation industries, their impact on the art of storytelling, and the movies they have made possible. Together with some of the industry’s top VFX supervisors, production designers, and VFX production houses, movieScope examines the creative use of technology in film and television.

VOL. 3, NO. 3 2009 (SEPTEMBER/OCTOBER) THIS ISSUE’S THEME: “THE DIGITAL AGE…” A revolution is happening in the way movies are distributed across the world. movieScope is on the cutting edge looking at the trends and technologies that affect and impact today’s filmmakers—from preproduction, production to postproduction, marketing and distribution.

VOL. 3, NO. 4 209 (NOVEMBER/DECEMBER) THIS ISSUE’S THEME: “3-D: THE FUTURE OF MOVIES?” Just about every top director and major studio is doing 3-D. Disney and Pixar are releasing five 3-D movies in 2009 alone, including a 3-D-ified version of TOY STORY. Sony are pondering SPIDER-MAN 4 in 3-D. George Lucas hopes to rerelease his STAR WARS movies in 3-D. And Steven Spielberg is currently shooting TINTIN in it, with Peter Jackson doing the 3-D sequel. With the long awaited released of James Cameron’s 3-D AVATAR, movieScope looks at the revolutionary technology that some think will “change the world” of motion picture with the release of AVATAR.

* Editorial Calendar is subject to change.

2009 Display Advertising Rates (Colour)

Rates

Additional Marketing Opportunities

Discounts

PRE-PAYMENT First-time advertisers must pay 50% up front. All rates are quoted ex-VAT.

2009 Advertising Closing Dates

Advertisements are subject to the approval of the publisher. Publisher reserves the right to reject or omit any advertisement at any time for any reason. Advertisers assume responsibility and complete liability for all content in their ad. movieScope is limited in its liability for errors not to exceed the value/cost of the space occupied by the error.

Please use Stuff-It, Zip, or any other Macintosh self-extraction format for larger files. We accept files up to 15 MB. Please include in the subject line of your e-mail the following: “advertiser’s name, size of ad, and publication issue.” movieScope is not responsible for misdirected e-mails.

We only accept ads supplied as Adobe PDF/X-1a. This is a requirement specified by our printer. Our printer has supplied us with a step-by-step guide to producing an Adobe PDF/X-1a. We can supply this upon request. All ads should be e-mailed to: editor-in-chief (at) moviescopemag (dot) com

Closing Dates

Artwork Requirements

ACCEPTABLE FILE TYPES We only accept ads supplied as Adobe PDF/X-1a. This is a requirement specified by our printer.

SCALE Please supply all files at full size of the finished output. The magazine finished cut and trimmed size is A4 portrait (Height 297 mm x Width 210 mm).

BLEED All printing processes require bleed, we require a 3 mm bleed all round with Printers Marks: “crop marks,” “registration marks” and “page information”.

ADJOINING PANELS On double page spreads that have multiple pages fitting together either horizontally or vertically please be careful and try to design text breaks over page joins.

RECOMMENDED DIGITAL IMAGE SPECIFICATIONS Ensure all images used are CMYK files. Please be aware that RGB screen profiles will never exactly match the printed CMYK output. Bear in mind that we are printing in CMYK and that a straight conversion of a spot color to CMYK may lead to changes in the way that color prints. Resolution and Size, Color or Greyscale continuous-tone images should be saved at 300 DPI and bitmaps at 2400 DPI, at a proportional print size to its final size on a page. Pale text out of a dark CMYK background may be unreadable if it is less than 7 pt.

SUBMISSION Ads should be e-mailed to editor-in-chief (at) moviescopemag (dot) com. Please use Stuff-It, Zip, or any other Macintosh self-extraction format for larger files. We accept files up to 15 MB. Please include in the subject line of your e-mail the following: “advertiser’s name, size of ad, and publication issue.”

FURTHER INFORMATION Our printer has supplied us with a step-by-step guide to producing an Adobe PDF/X-1a. We can supply this upon request.