Extreme sports naturally lend themselves to sponsorship. Trendy and cutting-edge hardware manufacturers and fashion labels are always looking to be the next big thing, and often film is the natural format for their expression. But those movies don't produce themselves, and once filmmakers accept corporate money, the line begins to blur between auteur and commercial.

Kevin Sansalone, producer/director at Whistler, British Columbia-based Sandbox Films, has 20 years of snowboarding experience. Seven years ago he began producing snowboarding docs, and he's currently working on the third of the 'Sandbox series.' "It's basically a marketing tool," he says. "So [a brand's] marketing department will decide on one or a few movies to sponsor for the season, allocate a budget, and in return we get funding for the film, funding to support the rider and products for giveaways at movie premieres. They get advertisement on our website, advertisement on the box cover, in the intro of the movie, plus various product placements in the movie."

The venture between a brand and a doc is usually initiated by the filmmakers, explains Sansalone. They write up a proposal for funding and, if accepted, a one-year contract is standard. He adds that many companies already sponsor snowboarders and if their riders are in a film, the brand usually follows soon after.

With so many brands visible in a film, it's natural to question how much editorial control sponsors have. Sansalone is quick to say none, as is Spencer Francey, the Banff, Alberta-based producer of the film Yes to the No. That claim might seem strange considering the No in the title refers to the Noboard, a snowboard without bindings, and a big sponsor of the film.

The 10-minute short was funded by the filmmakers, Francey insists, but he adds that the owner of the Noboard company, Cholo Burns, put up the cash to pay for helicopter shots. Burns has an executive producer credit on the doc, filmed some scenes, snowboards on-camera and is also interviewed.

In return for their investment, Francey explains that everyone owns a piece of the film and will be compensated as money comes in - like for the outlay on all those expensive helo shots. Understandable, really. The film has enjoyed a great reaction and is now on the international festival circuit, and Francey thinks that the helicopter shots are really what made the film.

While Noboard was one of the financial backers of the film, other sponsors also put in money. Francey has a sponsorship from Dakine, which makes back country apparel, as well as Snowboard Journal magazine. Their names are all shown at the beginning of the film on a sponsorship billboard. Francey plans to sell Yes online to interested websites. With only 1,000 DVDs made, they have no distribution deals planned.

Sandbox Films has a different game plan. Sansalone sells his DVDs for one year as an exclusive to Sandbox Films. After that, they open it up to broadcasters. His advice for filmmakers interested in the same type of programming is to know what your corporate sponsor expects from your film. "Some corporations just want their name on the box: here's the money and they'll see you next season. Good luck. Some people want involvement. They want to come out and watch a shoot, they want to do a contest on their website," advises the producer. "You're working for them, you're a marketing tool for them. You're just like a magazine or a billboard. You need to think that way, too."