Facebook reach no longer organic

Chris O’Falt, writing on IndieWire, exposes the new reality at Facebook: you might not be reaching the folks you painstakingly attracted to your pages anymore.

He interviews a number of independent filmmakers and reports:

“Facebook first announced its reemphasis on ‘friends and family’ three years ago, when Facebook first started to ‘throttle’ fan and community pages for nonprofits, films, and other organizations…. Today, Facebook film and nonprofit pages are virtually cut off from their followers, with independent filmmakers forced to pay to ‘boost’ posts to reach the followers they once reached organically through likes and shares.”

He goes on to say social media consultant Dor Dotson suggests that filmmakers should:

  1. leverage in-person relationships
  2. maintain an email list
  3. diversify platforms and
  4. experiment with micro-targeting

My take: Dor’s advice is great! I’d be interested in hearing about your experiences with Facebook. Has organic reach worked for you in the past? Do you find you need to buy ads now to get the same reach? How much are you paying? Have you explored other platforms? And most importantly, do you have your own opt-in mailing list?

CRTC wants to level the field

The Canadian Radio-television and Telecommunications Commission (CRTC) has issued a report called Harnessing Change: The Future of Programming Distribution in Canada.

The “digital-only, interactive” report makes fascinating reading, particularly the Market Insights pages and its charts.

The report concludes:

“To ensure a vibrant domestic market and be equitable to all players, it will be essential to develop better regulatory approaches that engage all audio and video services and for each to participate in the most appropriate ways in creating and promoting content by and for Canadians. Accordingly, if legislative change is to take place, it should clearly and explicitly make any video or audio services offered in Canada and/or drawing revenue from Canadians subject to the legislation and incorporate them into the broadcasting system.”

That sounds an awful lot like a Netflix tax to me.

Some telling quotes:

“Virtually all genres of content benefit from direct and indirect financial support. Absent this support, domestic production of virtually all genres of programming would not be sustainable at current levels.”

“The most direct concern is that, driven by the shift to online consumption, continued declines in traditional TV advertising and subscription revenues — the broadcaster revenues on which the bulk of current financing is based — will reduce the money available for production by Canadians. If creators and producers do not find alternative types of financing, less content will be made by Canadians and Canadians will see less of themselves, their culture and their values reflected.”

“A vibrant domestic market is not possible unless it engages all players in the system and ensures that each participates in the most appropriate and equitable ways. The current regulatory approach to audio and video content establishes benefits for traditional players, as well as related obligations. Neither these benefits nor these obligations are applied to the many online international services also operating in Canada and playing increasingly important roles in the broadcasting system.”

My take: the CRTC posits that this new system would be revenue-neutral and not cost Canadians more. The only way that’s going to happen is if cable TV and wireless providers lower their rates to balance the inevitable rise in Netflix rates. When pigs fly.

U2 explores AR

Irish band U2 has always embraced technology and continues to do so on their latest tour by embracing AR.

AR is Augmented Reality and superimposes information on top of your phone’s camera image.

Fans attending the shows will be able to hold up their phones to reveal a huge iceberg and a virtual singing Bono.

You can download the U2 eXPERIENCE app here. To test drive it, point it at the album cover for Songs of Experience. A virtual cover will float on top of the picture of the cover, shatter into shards as music begins to play and then an animated Bono will begin to sing.

As you move your phone side to side or up and down, you’ll see different angles of the holographic representation.

My take: this is pretty cool and might be many folks’ first experience of AR.

The Rise of the Robots

As reported by Jason Torchinsky on Jalopnik, Marci Robin was buying a car when the dealership passed her a piece of paper that gave her pause:

She explains to him:

“The sales guy was handing me paper after paper with a brief explanation of what each one was for, and then he handed me that page — with literally nothing else on it — and just mater-of-factly said, ‘And this one is just to ensure you’re not a robot.’ We both said, ‘Really?’ And I don’t know if he’s just done it so long that it was normal to him now or what, but he was just like, ‘Yep.’

In an another story, Johnny Lieu writing on Mashable asserts that Donald Trump does not write all of those wacky tweets.

He says:

“Some are penned by White House staffers, and according to a Boston Globe report, these tweets are composed with grammatical errors and irregularities, intentionally included to sound like they’re written by Trump. This comes from two sources at the White House who spoke to the newspaper, both of whom said staffers would copy Trump’s expression. That includes the overuse of exclamation points, the capitalization of words for emphasis, fragments, and loosely connected ideas. While grammatical errors are present, staffers reportedly didn’t intentionally misspell words or names.”

So is “The Real Donald Trump” fact or fiction? How can we tell if Trump is truly tweeting?

Luckily Andrew McGill of The Atlantic can tell us which tweets are real and which are “fake tweets.”

In part, he reveals:

“It’s fun to see the words the algorithm found were most helpful in attributing a tweet to Trump or a staffer. Most of them aren’t words at all, but quirks of spelling or punctuation.

“@realDonaldTrump” (Trump/staff ratio = 14 : 1)
Trump was 14 times more likely than a staffer to mention his own Twitter handle, probably because he frequently quotes tweets about himself.

“#” (Trump/staff ratio = 1 : 5)
Staffer Trump uses hashtags all the time, something Android Trump doesn’t bother with much.

“Media” (Trump/staff ratio = 5 : 1)
With a president who is obsessed with news coverage and the “dishonest media,” does this surprise you?

“@foxnews” (Trump/staff ratio = 3:1)
Trump’s preferred cable channel gets a bump in his own tweets.

” “  (Trump/staff ratio = 8 : 1)
The president is also far more likely to include extra spaces in his tweets.”

Follow Trump or Not on Twitter.

My take: I think we’ve crossed a line if humans can’t vouch for humans anymore. Of course, you could also claim humanity crossed that line on November 8, 2016.

NSFW: The Happytime Murders trailer

First reported last month by Bloody Disgusting, an R-rated puppet/live action movie will screen at the end of summer.

The Happytime Murders‘ stars Melissa McCarthy.

(You may need to log into Youtube to watch the trailer.)

From STX, the distributor:

“No Sesame. All Street. THE HAPPYTIME MURDERS is a filthy comedy set in the underbelly of Los Angeles where puppets and humans coexist. Two clashing detectives with a shared secret, one human (Melissa McCarthy) and one puppet, are forced to work together again to solve the brutal murders of the former cast of a beloved classic puppet television show.”

My take: folks in Canada may remember ‘Puppets Who Kill‘ from 15 years ago, which might be the first show with multiple murderous puppets. With the success of R-rated comic book movies, it’s not surprising that puppets also get the adult treatment.

Features shot on iPhones

First there was Tangerine.

Now there’s Unsane.

Director Steven Soderbergh has revealed that he shot almost all of his latest film on an iPhone 7 Plus.

Jay Pharoah says Soderbergh should have used a Samsung.

I believe Sean Baker actually used an iPhone 5S to shoot Tangerine. Here he spills the full beans.

He mentions the Moondog Labs anamorphic adapter lens and the Filmic Pro app.

My take: basically, lack of a suitable camera is no longer an excuse for not filming. But everything else stays the same, starting with a great script and a smart plan.

Projection error traumatizes children

As reported by David Allan-Petale in The Sydney Morning Herald, a trailer for a horror film was shown to a cinema full of families and their children waiting to see Peter Rabbit.

An eyewitness said:

“Very quickly you could tell this was not a kid’s film. Parents were yelling at the projectionist to stop, covering their kids’ eyes and ears. It was dreadful. A few went out to get a staff member but she was overwhelmed and didn’t really know what to do. Some parents fled the cinema with their kids in tow. Eventually a senior staff member came in with a walkie talkie and he shut the screen off. To his credit he apologized and offered us complimentary movie passes to make up for it.”

Watch the trailer:

My take: back in the day, when I was a repertory cinema manager I used to order trailers for upcoming films and play them sight unseen before the nightly films. However, I think all the trailers were made for general audiences. Of course, who can forget The Tale of Peter Rabbit has Mr. McGregor who chases the rabbits with murderous intent, so maybe the horror film trailer is not so far off the mark after all.

CanadaScreens.ca gets CAVCO nod

Once upon a time if you were making films in Canada, you needed to get a theatrical release or a television deal to qualify for production tax credits, as administered by the Canadian Audio Visual Certification Office, or CAVCO.

No more.

Online distribution now qualifies and the newest approved service is CanadaScreens, owned and operated by the First Weekend Club.

Posting your film on CanadaScreens.ca will now trigger tax credits, providing eligible productions with fully refundable tax credits on their qualified labour spend.

First Weekend Club’s executive director, Anita Adams, says:

“This is exciting news for the organization as it puts us in a position to be of much greater service to the Canadian film community, providing them not only with a platform for their Canadian content, but a platform that will enable them to recoup costs through the tax credit program.”

In an email to me she goes on:

“We work directly with whoever holds the digital rights to the content — so we work both with filmmakers and distributors equally. More filmmakers are now choosing to go down the self-distribution route and are reaching out to us directly. In some cases, we may help release these films theatrically by offering promotional services, and then launch their films on our VOD platform. This is a model we quite like actually.”

Please read the CAVCO regulations carefully; I’m not clear if they require a Canadian distributor deal, or if self-distribution qualifies. See Section 30 above.

Here’s the full list of acceptable online services.

My take: this is great news for filmmakers in Canada. Keep up the great work, First Weekend Club!

del Toro and Besson make deals

Two interesting developments in the realm of auteur filmmaking to report today.

Firstly, Adam Epstein writes on Quartzy that Guillermo del Toro is “getting his own film label at Fox Searchlight, the studio where he directed this year’s best picture winner, The Shape of Water.”

As quoted by The Hollywood Reporter, del Toro says:

“For the longest time, I’ve hoped to find an environment in which I can distribute, nurture and produce new voices in smart, inventive genre films and channel my own. In Fox Searchlight, I’ve found a real home for live action production — a partnership based on hard work, understanding of each other and, above all, faith.”

Secondly, Charles Barfield writes on The Playlist that Luc Besson‘s company is in talks to be bought:

“According to French media outlet Capital.fr , EuropaCorp is in advanced talks to be purchased by none other than Netflix. There’s no terms to the agreement, and honestly, the report is very heavily leaning on unnamed sources, but the structure of the deal is clear. EuropaCorp, founded in 2000 by filmmaker Luc Besson and Pierre-Ange Le Pogam, would be purchased by Netflix, with Besson to stay on to oversee the creative side of the company. The goal is to have the deal worked out by the summer.”

My take: once upon a time, this might be considered selling out. Now it’s monetizing your celebrity in exchange for a promise to keep moving in the same direction. It shows just how much money mini-majors and Netflix have to invest in building up their artistic credibility and aligning with like-minded creatives. That’s the short play — the long play is betting on which streaming service will rule them all.

Industry Veteran Brings Blockchain to Hollywood

Dawn C. Chmielewski, writing on Deadline Hollywood, reports that a Blockchain Network is coming to Hollywood.

“Veteran entertainment industry marketer Amorette Jones joined with technologist Matej Boda to build a blockchain-based platform for the film industry. Their new venture, Treeti, would seek to harness the disruptive power of blockchain to create a new way for filmmakers to distribute and monetize their creative projects.”

Amorette Jones has a long history in Hollywood and can claim to have made the first big splash online with marketing for The Blair Witch Project.

Treeti.com is short on details right now. Their promise to creators is:

“Our platform is designed to make it easier to distribute, market, and monetize your content with an engaged global audience. Sophisticated data connects you to fans who are most eager to discover and promote your content.”

My take: I so want this to take off. There is tons of potential in the blockchain. Unfortunately crypto-currencies are giving it a bad name right now.