Category Archives: The Mediascape

Avoid these six indie film mistakes

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Filmmaker Dianne ‘shit has got to change’ Bell recently posted her thoughts on why some indie films ‘aren’t very good at all’ in ‘Six Mistakes that Will Sink Your Film’.

The six mistakes are:

  1. The script isn’t very good
  2. The budget/schedule are over-ambitious
  3. The director decides to take on every job
  4. The casting is cynical
  5. You don’t tech scout
  6. Great camera package, but no budget for production design

Here’s what she says about production design:

“It doesn’t matter what fancy camera you use, if what you put in front the camera is ugly, it will look ugly. Get a cheaper camera and spend money on the interiors that you are going to shoot in, and I swear your film will benefit from it. Take time to really think about the color palette of your film. Too often low budget indies are shot in friends’ homes with little thought or care about the palettes of the interiors and they suffer for it.”

Talking about colour palettes, see the excellent Movies in Color and Roxy Radulescu‘s thoughts on the power of colour.

My take: I agree with Dianne. Personally, I like films with a point (otherwise they’re pointless) and upbeat endings (don’t waste my time with a depressing ending.) And anything that highlights film’s plasticity — temporally or spatially, etc.

The best summary of the mediascape to date

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The excellent CMF Trends has released another excellent white paper: Content Everywhere 2: Securing Canada’s Place in the Digital Future by the Canadian Media Production Association.

The 33-page report focusses on developments in the ‘linear, original digital content space’ in Canada, the US and the UK.

With facts and figures, it outlines the ‘videofication’ of the Internet:

“CISCO predicts that video traffic will be 79% of all consumer Internet traffic in 2018, up from 66% in 2013. Internet video is growing at a rapid pace, increasing fourfold by 2018 and consumer VOD traffic will double by 2018. For example, the amount of VOD traffic by 2018 will be equivalent to six billion DVDs per month.”

The report next analyzes the SVOD trend, OTT original content, nimble Internet successes and old media forays.

Case studies from all three countries follow.

One conclusion:

“The biggest obstacle is discoverability in a crowded marketplace –- and the only way to address this challenge is to produce a show that you know has an audience.”

The report closes with this summary of common characteristics of digital-first content across all markets:

  • Global, universal stories
  • Pre-existing and demonstrable digital audience
  • Underserved audiences (in traditional media)
  • Unique creative, perhaps unsuited to traditional media
  • Creative appealing to younger digital audiences
  • Premium talent or ‘event’ programming
  • ‘Digital native’ skills (social media, community building experience)
  • Transmedia competency to market and support content

My take: worth the time to read! Excellent insights and case studies. The takeaway is that you no longer make something for a comissioner/distributor, you make it for your audience. BONUS: email addresses of Digital-First Buyers in Canada, the UK and the US!

TV speeds up shows to squeeze in more ads

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Recently, numerous articles have popped up claiming TV networks speed up their shows in order to play more commercials.

From reddit to CBS, everyone is decrying the practise as a money grab at the expense of the artistic integrity of the original programming.

See proof on Youtube.

You might be surprised to learn this is old news. Snopes.com explored the topic last August. Way back in 2002, everything2 exposed the phenomenon.

The program the networks use is called Time Tailor, a “video time optimization solution” by Prime Image. Check out their Revenue Calculator.

My take: how about they speed up the commercials by 50% instead?

Indie films to grace screens across Canada

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Something exciting is percolating: Media Events International (MEI Group) and A71 Entertainment Launch New Canadian Indie Film Series.

The plan is to bring independent Canadian film to 17 screens across the country as “Canadian Indie Night” the first Wednesday of every month beginning in March 2015.

Chad Maker, President of A71 Entertainment, says:

“The goal of the series is to provide audiences and film fans with wider access to the growing number of internationally recognized indie films that are being produced in this country. There’s a new breed of extremely talented storytellers emerging in Canada and this series has the ability to celebrate and promote them to audiences across the country.”

My take: this is a bold venture! There’s nothing better than seeing your movie on the big screen — even if it’s a one day run. Reminds me of my series Toronto Film Now at the Bloor Cinema back in the day. The trick will be to get “bums in seats” as they say in the biz. I’ll be watching this one!

My gift to you

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I recently read a post by Samantha Simmonds-Ronceros titled Don’t Worry that your Film might be Rubbish.

In it she relates being asked:

“Why do you make these small films that no one sees when there is so much to watch on TV or Cable or online? What is the point when everything else is so much better?”

She counters with these reasons:

  • It’s fun!
  • It’s never been cheaper to make moves, so now is the time to experiment and ‘fail and fail again.’
  • You will learn from your mistakes which allows you to make better films next time.
  • It’s all about the journey and not the end result.

“Film, especially when you don’t have money or movie stars or permits or even a car, is art, and you should expect to create bad art for a little while at least, before you can create great art. And even then, sometimes the reason something is made is more important than how technically brilliant it is.”

She concludes with this:

“As very independent filmmakers, with no one to challenge us, we have the opportunity to achieve something that means something, if only for us and those we choose to work with.”

My take: this view really speaks to me. Not because my films are rubbish, but because I believe meaning can be existential. Too often society, influenced by the media, equates value with budget. However, no-budget films can have more to say and impart more meaning than many million dollar movies. My hope is that we figure out more ways to reward artists for sharing their visions with us. And this is my gift to you: an entreaty to carry on filmmaking — because I believe what you do is important and has meaning.

Niche SVOD platform: NativeFlix

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Taking a different road to subscription video-on-demand is Amerind Media Group which has launched NativeFlix.

NativeFlix aims to be “the netflix for Indigenous peoples content.”

From the About Us page:

“NativeFlix is designed to be an effective vehicle for social change, helping to expand consciousness about Indigenous People, their stories, cultures and histories, environmental concerns, spirituality, and much more. More importantly, our primary goal is to provide the most compelling and entertaining content available. NativeFlix is a unique streaming media service offered by Amerind Media Group, a media content aggregator owned and operated by Indigenous filmmakers based in Hollywood, CA. Our library includes critically acclaimed feature films, television series, and documentaries about Indigenous people from around the World.”

The monthly fee is $5.99 per month and services both Canada and the U.S.

My take: While I applaud the intention, I wonder how NativeFlix will draw attention to its venture. The rules of supply and demand will dictate whether it succeeds economically. Artistically and politically, it’s already a winner in my eyes.

Bell Media jumps into SVOD pool with CraveTV

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Launching tomorrow, Bell Media‘s SVOD offering, codenamed Project Latte, will be called CraveTV.

CraveTV will go head to head with category leader Netflix and newcomer Showmi with three distinctive differences:

  • It’s TV only
  • It has lots of exclusive content
  • It’s the cheapest of the three at $4 per month.

The catch?

You might not be able to get it just yet. From the CTV Insider:

“With an objective of getting CraveTV into as many Canadian homes as possible, Bell Media has offered the service to all TV providers. Previously, Bell Media announced distribution partnerships for CraveTV with TELUS Optik TV, Bell Fibe TV, Bell Aliant FibreOP TV, and Bell Satellite TV at launch. Today, Bell Media confirmed that Eastlink is the latest distribution partner for CraveTV and will make the service available at launch, while Northwestel and other Canadian Cable Systems Alliance (CCSA) members will also provide the service soon.”

No word on when (or if) it will come to Rogers or Shaw subscribers.

My take: great price point! The TV only slant plays right into the binge viewing habits of cocooning Canadians. Launching just as winter hits ensures thousands, if not millions, of homes will check it out over the next quarter. This could boost next year’s revenue handsomely.

Infographic: What Movie Should We See?

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Think with Google has crunched the numbers and released a fascinating infographic titled Behind the Box Office.

Some data:

  • Of movie goers who use video sites to research films, 4 out of 5 go to Youtube to watch trailers
  • The official trailer influences 39%
  • Only 8% are swayed by a friend’s opinion

My take: I’m really surprised that word-of-mouth is so low. The graph of views of movie-related content over time is very interesting. Well worth a quick look.

Product placement for the rest of us

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You need some sunglasses, shoes or scotch whisky for your up-coming film.

You could go out and buy it, or you could jump into the world of product placement and get it for free.

Once only the purview of Hollywood or network TV and large advertising agencies, product placement is now within every production’s reach through Brandplacer.com.

It’s the brainchild of Murray Ashton, who says:

“Brandplacer aims to disrupt the product placement marketplace by simply making it available to everyone anywhere. I launched Brandplacer to change how productions worldwide (big and small) connect with brands, products and services through product placement from Hollywood to the local community.”

As Brandplacer.com continues to build its — brand — the service is free to both brands and filmmakers. Currently there are 28 brands and 12 productions listed. Brands include products ranging from sunglasses, shoes and scotch, to underwear and beer, among others. Productions range from theatre to shorts to features and hail from New Zealand, USA, the UK and India, to name a few countries.

The website has already facilitated successful brand placements.

My take: I had a similar idea six or seven years ago, so I’m happy someone has taken a stab at making it real. In my opinion, Brandplacer.com could be huge, listing thousands of brands and thousands of productions. It truly could be “product placement for everyone.” If you own a brand, consider signing up to get it placed today.

Disclaimer: I have a production listed on Brandplacer.com: my feature U.S. 66.

Victoria represents at Storyhive!

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Following up on my recent post about Storyhive, here’s a list of all the projects from Victoria, B.C.:

Best of luck, everyone!

My take: If you think of projects as stores, these would be funky shops in a fashion-forward mall. Indy films would be independent retailers. TV offerings would be chain stores. Hollywood fare would be big box stores. Ask yourself, where do you like to shop for your entertainment?