The 168 Hour Film Project is a speed filmmaking competition where contestants get 168 hours to shoot, edit and complete post on a 11 min short film. We DO NOT accept films made outside our competition.

Time permitting ALL films will screen at our festival at the beautiful Regal Theater at LA LIVE in Downtown Los Angeles.

168 Film is a global community of artists focused on exploring life's most important questions via film and TV.

168 provides a proving ground for filmmakers, writers, actors and artists to engage culture in the context of faith, values and truth. More than an international short film competition,168 Film challenges artists and audiences to explore Scripture's relevance for today.

Founded in 2003, the 168 Film Project is an incubator for writers and filmmakers to explore scripture and to practice their craft. The 168 Film Project challenge to filmmakers worldwide is to draw a random scripture and in just 168 hours (7 days) shoot and edit a short film. In the Write of Passage competition, writers craft a 12-page script in 168 hours.

We reduce barriers to production and create opportunities for pros and newcomers to just do it. Participants from diverse backgrounds and faiths forge dynamic, creative communities. All Filmmakers are responsible for their own budget, cast and crew.

What started as a ministry to local Southern California filmmakers has expanded to a worldwide movement. Many different countries compete in this international contest, some winning top honors.

We encourage fair treatment of subjects with emphasis on story and subtlety. But most importantly, filmmakers are encouraged to honestly portray the tale that God inspires through the foundational scripture.

“168” films uplift and inform the human condition, showing real consequences for actions and reflecting traditional, conservative Biblical values. Content rules do not require overtly Christian characters, just real ones. We do not permit swearing or use of the word “God” or “Jesus” as an expletive. There is no gratuitous sex, language, violence or drug use.

For 2016 films will compete for $30,000 in cash and prizes for best-in-category and acting/personnel awards (including $4,000 cash for Best Speed Film).

Award Categories
Awards categories and recipients for Speed Films:
•Best Film - to producer *
•Best Scriptural Integration - to writer
•Best Comedy - to producer
•Best International Film - to producer
•Best Director - to director
•Best Actress - to actress
•Best Actor - to actor
•Best Supporting Actor - to actor
•Best Supporting Actress - to actress
•Best Screenplay - Drama - to writer
•Best Screenplay - Comedy- to writer
•Best Cinematography - to DP
•Best Editor - to editor
•Best Sound Design - to sound designer
•Best Original Score - to composer
•Best Production Design - to production designer
•Best Hair/Makeup - to person with hair/makeup credit

Awards for Other Film Types:
•Best Documentary - to producer
•Best Animated Film - to producer
•Best Music Video - to producer
•Best KidVid - to producer
•Best Student Film - to producer
•Best Write of Passage Spotlight Film - to producer
•Festival Audience Favorite - to producer
•Best "Making Of" Behind-The-Scenes Documentary - to producer of documentary

Eligibility and Entry Summary

•All teams, worldwide, are eligible to participate and may consist of any number of individuals.
•Teams are required to designate one primary producer as the team's agent or “signing producer” (the "Entrant"). This Entrant will be the primary contact with 168 and will sign the entry agreement, agree to these Rules and the Warranties and Licensing Agreement, and execute all necessary release forms for the submitted Film. There can only be one Entrant on record per film entry. The Signing Producer "Entrant" assumes all legal responsibility for the film's content, its production, and the safety of the cast and crew.
•Individuals who are employees or board members of 168 are not eligible to participate on a team.
•Student Teams must be headed by an individual age 18 or older.
•168 reserves the right to bar any team or individuals from the competition or exhibition.
•Producers may submit multiple film entries in the same or different film type categories. However, each film, is considered a separate entry and requires that a separate Entry Fee be paid. Further, entries may be capped as deemed necessary by 168 Film Project ("168"), the organizer and operator of the Project.
•ONLY ONE TEAM PER USER ID. If registering more than one team, producers must create a separate ID on this site.
•To enter, teams must (1) pay the Entry Fee and (2) agree to abide by the rules. A Contract and Warranty/Licensing form (downloaded from the purchase acknowledgement page) must be signed submitted within 5 days of entry purchase.
•Cancellation Refunds: A team may cancel its entry registration any time by notifying 168 in writing. Refunds of entry fees will be made according to this schedule: •Cancellation up to 30 days before Verse Assignment - full entry fee refunded
•Cancellation less than 30 days before Verse Assignment - No refunds
•Team registrations are NOT transferable.

•Actors in multiple films:•Actors may appear in more than one film per season.
•Actors appearing in more than two films in the season will be ineligible for acting awards

Summary of Rules on Content

168 Films do not require any overtly Christian characters. Authentic Christian characters are encouraged versus one-dimensional Christian caricatures. Heroes should come to be aligned with truth, goodness, God & the Bible. A respectful, traditional interpretation of scripture is obligatory. Heretical or blasphemous films and gratuitous elements are unacceptable. This means the following:
•No swearing
•No gratuitous sex, violence, language or drug use.
•No overly revealing costumes
•No using the word “God” or “Jesus” as an expletive or showing disrespect to Jesus, God or the Spirit of God
•No morally ambiguous films (like purely black comedies) or films that wink at, poke fun at, or deride hell, sin or other core Christian doctrine. (Potentially divisive denominational differences should be avoided.)

As Jesus is our redemption, redemptive stories are ideal, even if it's just a hint of redemption. If tragedies are produced, they must show real consequences for bad behavior (sin). By poking fun at the seriousness of murder, etc., TV and movies have helped to destroy the pursuit of virtue and make light of the miseries of mankind. We want to start to reverse that trend.

We also encourage filmmakers to avoid doctrines that may be divisive in the wider Christian community, concentrating instead on the core of the Gospel message.


•Originality: Submitted films must be comprised of only all original material, created specifically for the Project
•No pre-written scripts, except for Write of Passage Spotlight Films
•Limited amount of stock footage
•Films based on true or real life events require appropriate clearances including "life rights"

Turn-In Summary

•Mandatory Content: items that must be included to be eligible for awards: •Slate at the head of the film
•Credits, typical of standard motion picture production
•Post-roll Bible Verse Insertion, ("Verse Assets" - graphic and narration of the assigned verse) from content provided by 168

•Submittal Versions: All teams are required to turn in TWO (2) versions of their films:
•(1) a compressed online "JUDGING" version - h.264 that begins uploading prior to the Turn-In deadline
•(2) a Pro-Res or DNxHD "SCREENING" version on physical media, which will be delivered no to 168 no later than one week following Turn-In of the Judging version. Screening Version may have limited extra finishing work for Festival exhibition, but the online Judging version will be used to determine winners.
•Technical details for required files are listed in the Producer Dashboard.
•Turn-in of Judging Version is via upload only. A media event may be scheduled on Turn-In day.
• Optional 5-minute "Making Of" Documentaries must be uploaded no later than 1 week following the primary film's turn-in date.
•Turn-in times are for the Pacific Time Zone in the USA. Teams outside of the PDT time zone need to adjust their start/end times accordingly.
•Non-Speed Films (all types). Early turn-in is encouraged, but you must wait until Verse Assets (see above) are prepared for your film. If enough non-speed films submit verses 168 may produce an early batch, but we do not guarantee verse assets will be available until the Speed Film verse assets are prepared, soon after Verse Assignment.
•Film duration: See below for film duration limits for specific film types.

Rules, Duration and Start Times for Specific Film Types

For "Speed Films," start time and turn-in time is strictly regulated. "Non-Speed" film types may start immediately upon entry purchase/forms completion, but must be turned in at the same time as Speed Films. Note: All films in all parts of the world are due at the same time in the PACIFIC TIME ZONE.

"Speed Film" Types

"Signature" Speed Films (Dramas, Comedies, Musicals*, etc.)
•Duration must not exceed 11 minutes including credits (11:00:01 means no awards).
•No Writing may occur prior to Verse Assignment (the beginning of the 10-day Pre-Production period).
•Before Verse Assignment teams may conduct casting, secure locations, gear and crew, and develop story concepts prior to verse assignment, but no scripting may be performed. (Testing of post production workflow before Verse Assignment is highly recommended.)
•No filming may commence prior to the posted Production Week Start Time. (Rehearsals are encouraged)
•Production must be complete and upload started by the posted Turn-In Time. See above for Turn-In rules for all films.

•Music must be original, composed for the project.
•No writing of lyrics, score or charts may occur until Verse Assignment.
•No recording or Digital Audio production until the start of Production Week.
•Composers will sign a certificate that states music was composed within these rules

* "Musicals" are dramas/comedies where song lyrics advance the plot. "Music Videos" are visualized songs that compete in their own Non-Speed category - see below.)

Signature Speed Films with Hybrid Live Action/Animated/Effects:
•These (up to 11 min - see above) films alternate synthetic elements and live action and are considered Speed Films.
•As such, all CG effects, animation, etc. are considered a part of live action. These assets include Motion Capture, Plates and Virtual Sets.
•Effects MAY be planned after Verse Assignment, but filmmakers may NOT shoot or do work on any of these elements before the Start Production date and time.

Student Speed Films
•Duration: 11 minutes or less
•Key personnel (producer, director, etc.) must be active college or high school students, supervised by an adult advisor.
•One adult advisor must register as Signing Producer if student producer is under age 18.
•Student Speed Films follow the same rules and timetable as Signature Speed Films (in the Pacific Time Zone) unless the producer chooses the "Name Your Own Deadline" option. To name your own deadline: •Choose a date and time for your proposed Turn-In (perhaps after Spring Break). Your deadline must be at least one week before the published Turn-In date.
•Count back 1 week (168 hours to be exact) from your proposed turn-in time to determine when your production week will begin, then count back 10 more days for Verse Assignment.
•Communicate your proposed schedule via email to 168 at least two weeks before your proposed Verse Assignment.
•168 will consider, and may revise, your schedule. When you receive confirmation of a final schedule, you may proceed with your plans.
•Your verse will be delivered via email on your Verse Assignment day and your 10-days of preproduction begin.
•At the scheduled time on your Production Start day, cameras may roll.
•"Verse Assets" - the graphic of the verse and narration for the end of the film - will be delivered during your production week via email.
•Your turn-in requirements are exactly the same as for regular Speed Films (see Producer Dashboard) except the upload deadline is your chosen hour on your Turn-In day. Your physical Screening Version must also be shipped, and your optional "Making Of" documentary must be uploaded no more than one week after your Turn-In.

•Student films compete in their own category.

Non-Speed Film Types

All "Non-Speed" films may begin production as soon as fees are paid. On all films (except Write of Passage) the producer will choose a Bible verse related to the theme for the year. This declared verse must be submitted to 168 via email no later than 10 days before the published Speed Film Verse Assignment day. (If purchasing entry less than 10 days prior to Speed Film Verse Assignment day, verse must be declared with registration.) Verses will be published using the NIV translation.

All Non-Speed films compete for a "Best Of" award in their own category, and (except Write of Passage) are eligible for the Evangelista award.

NEW: Non-speed films are eligible for Non-Speed acting and technical merit awards. Categories, nominations and awards are at the discretion of the judges.

Alumni Invitational Challenge (NEW)
•Open to veteran 168 producers only (list year and film title of previous film in Notes when purchasing entry)
•Story should reflect the annual theme
•Producers choose foundational verse (which must be communicated to 168 before Speed Film entry deadline date)
•Production may start as soon as team is registered
•The script may be original, or it may be pre-existing (excluding Write of Passage scripts). •Rights from writers of pre-existing scripts must be assigned to 168 as per Speed Films.
•If a pre-existing script is chosen that was not written around a particular Bible verse, producer will choose a verse or brief Bible passage that is related to the story.

•Production may be any style or genre: drama, comedy, documentary, etc.
•Speed film content rules apply
•Maximum duration 12 minutes (including credits)
•File format and submission standards are the same as for other films
•"Making Of" behind the scenes films are encouraged (5 minutes max)
•Producer may also compete in Speed Film competition (multiple entries OK)
•Turn-in deadlines for both Judging Version and Screening Versions are the same as for regular speed films.
•Finalists will be judged using Speed Film criteria (weighted toward Scriptural Integration)

•Duration is 11-minutes or less including credits
•Content Rules and Turn-In Rules as described above apply to Documentary entries.
•Production turn-in deadline is the same as for Signature Speed Films.
•Stock Footage: Use of stock or generic footage in docs is not regulated, but releases are mandatory

KidVid (Non-Speed)
•Duration: 5 minutes or less, including credits
•Producer will specify age range of the target audience in the Film Details Database. Ages 3-15 year-olds - “G” or "PG” rated. The spirit of these film ratings is a return to the very conservative standards of 1950's media.
•Age appropriateness will be a criterion for judging.
•Duration may be no more than 5 minutes, appropriate for target audience attention span.
•KidVids are subject to the same Content Rules as described above.
•Production turn-in rules described above apply.

Animation Films
•Duration is 5-minutes or less including credits.
•Animation films must contain animation or motion capture in every frame. Animation style may include motion capture, stop-motion animation, kinetic typography, whiteboard animation, cell animation, CGI animation or any other animation artform.
•Turn-in rules for all films (above) apply.

Music Videos (Non-Speed)
•Duration: 5 minutes or less, including credits
•Music Videos are a special category, where the visuals enhance or illustrate the lyric of the song.
•Original music is encouraged. If copyrighted pre-existing music is chosen, all licenses and synchronizations rights must be secured and copies delivered to 168 with submission (see below).
•Turn-in rules are the same as all other films.

Write of Passage Spotlight Films (Non-Speed)
•Length is 11-minutes or less, including credits
•Turn-in rules are the same as for all films (see above).
•Write of Passage scripts may be optioned and produced for the festival.
•Producers may "bid" on the rights to produce any Write of Passage script. 168 Management has sole discretion in granting permission to produce.
•Once accepted and fees paid, producers may begin production as soon as entry fees are paid. No time limits are required other than turn-in..
•The foundational verse for the Write of Passage script will be the foundational verse for the film.
•Technical requirements are the same as for all other submissions. See Producer Dashboard for details.
•See the Write of Passage FAQ for full details.

"Making Of" Behind The Scenes Documentaries (Optional)
•Behind-the-scenes (BTS) documentaries are encouraged but are not required.
•No additional registration required.
•Length is 5-minutes or less including credits.
•Filming may start as soon as a team is formed.
•All Content Rules (above) apply.
•Deadline for submission is exactly 168 hours after the published hour on Turn-In day. A Screening Version of your Making Of documentary should be included in your Screening Version Physical Submission, which must be postmarked at the same time..
•Upload and technical requirements are the same as for all other entries.

Rules about Rights and Permissions

Music Licensing
•All music must be licensed
•Original composers will use the form to assign rights to you and to 168.
•"Production Music" (from library, buyout or online scoring service) may be used, but it will disqualify for Best Score or Best Original Song.
•Production Music (if used) must be licensed for up to 3,000 copies plus Internet delivery.
•Copyrighted "popular" music may ONLY be used if appropriate rights and permissions are obtained with license to make up to 3,000 copies plus Internet delivery. This applies also to incidental music that could be picked up by a microphone in a public place, or an actor humming a few bars or singing/speaking lyrics of a copyrighted song. For details on the hoops to use commercially-available music, please see (NOTE: The copyright exemption for music used in worship does NOT apply, and neither do blanket licesnes for church productions.)

•Template forms are provided in the Producer Dashboard. These forms are not to be construed as legal advice. Each team is responsible for its own contracts, releases and legal research.
•Producer must obtain releases from talent, cast, crew, location sites, trademarks, images or artwork displayed.
•Releases are to be held by the producers in perpetuity. Producer guarantees that all appropriate rights have been secured.
•If the film is based on true or real life events, Entrant is required to have those life rights and other releases executed by the participants as required by custom and usage in the industry and the applicable laws. Life rights owners must agree to the terms of the 168 license agreement.
•Derivative works are not allowed. No books except The Bible are to be used as a basis for stories. (Sole exception is for Alumni Invitational films, which may be derivative of an existing story or literary work, or a previous 168 film. These films may also use a pre-written script. Written permissions from copyright holders will be required from owners of source material for derivative works or writers of pre-existing scripts not owned by producer or writer.)

•Forms to be submitted to 168 with the film are listed in the Producer Dashboard.

Rules about Safety

Teams accept full responsibility for the safety of their cast and crew. This includes, but is not limited to, reading and complying with the Safety and Production Guidelines provided by 168. Producers must follow all applicable city, state, and federal laws. Team members are required to conduct daily safety meetings. Further, all teams will comply with all State and Federal OSHA requirements as well as local fire codes and filmmaking regulations. Children on the set are subject to special rules outlined in the Safety and Production Guidelines. 168 IS NOT RESPONSIBLE FOR ANY ACCIDENTS OR INJURIES, OR PROPERTY LOSS/DAMAGE ON YOUR SET.

Rules on Pre-Festival Screening

•168 reserves the right to premier your film at the festival.
•NO open access to any versions of the film that may be uploaded to a video service (YouTube, Vimeo).
•Films may not appear on any social media outlet (Facebook, Twitter, etc.) prior to the 168 Film Festival. (Be sure any preliminary uploads are "private" or "unlisted" and that recipients do not share the film.)
•You may show your film to your team or supporters prior to the festival AS PRIVATE SCREENINGS ONLY.
•If your film is NOT selected for festival screening, it may be made publically available, but only after the official screening schedule is announced.
•Trailers are encouraged and may be uploaded to any social media or video sharing outlet referencing the premiere date of the festival. Links to YouTube trailers submitted to 168 (through the Producer Dashboard) will be featured on this site.