Category Archives: The Mediascape

Rooster Teeth breaks crowd-funding records!

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Rooster Teeth, the creative team behind Red vs Blue, has just set crowd-funding history.

Here’s the scenario:

“In the late 1970’s, the Search For Extraterrestrial Intelligence project received a one time signal from outer space. It looked exactly as theorists thought a communication from an alien civilization would — unfortunately it has never been decoded. Or so we were told. Unbeknownst to the general public the signal was translated and told us two things: 1. We are not alone. 2. The galaxy is a dangerous place. Our story is live action sci-fi comedy that takes place decades later in the aftermath of this event.”

Not bowled over? Well, these numbers certainly are impressive:

The ask: $650K. The project: a theatrical feature production.

The results:

  • $1,000,000 in two days.
  • Over 25,000 contributors.
  • $123,000 from 20 backers, rewarded with producer credits.
  • To date, over $1.7 million with more than 10 days to go!

See their campaign on Indiegogo.

My take: a popular franchise appeals to their fans to finance a very different product, with wildly successful results. Of course, it helps to have over 7.5 million subscribers on your Youtube channel.

Your film has many price tags

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Marc Schiller of Bond/360 thinks you should price your independent film differently depending on the platform and the time since release.

He lays out his strategy in ‘How Much Should I Sell My Film For?’ on  Medium.

Keeping your conversion rate between two and three per cent is key, he says.

“Conversion rates are never static. And because of this the price of a film should also never be static.”

Sell on your website to your core audience. But don’t overlook the iTunes and Netflixes out there:

“The benefit of having your film in the marketplace and supported with promotion is that your film can now be discovered by those who may not have known about it. A significant amount of sales of independent films happen specifically because they are found and discovered in New Releases, Top 25, etc. In addition, many of your core want to purchase on iTunes, not your website. The biggest mistake a filmmaker who is selling direct can do is to try to divert sales from iTunes so that the film is purchased on the website. Rather, they should be doing everything in their power to get their film into the Top 20 of its category so it can be discovered by others. This increase in sales is worth every penny of the commission the retailer takes.”

My take: excellent advice, backed up with concrete figures. Thanks for sharing!

Mid-2014 trends in the indie film marketplace

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Marc Schiller of BOND/360 has just released ‘An Analysis of Internet Trends in 2014 for Independent Films’ on Medium.

Main chapters comprise Commerce and Marketing while headings include:

  • Digital Revenue For Individual Films In Traditional Marketplaces Is Falling Rapidly
  • Niche Content Is The New “Mainstream”
  • Methods Currently Used By International Sales Agents Are Creating A Steep Decline In Revenue and A Steep Increase In Piracy
  • The Days Of “Free” Marketing On Facebook For Independent Films Are Over
  • Today, The Best Social Media Marketers Are Designers, Not Curators
  • Smart Filmmakers Are Realizing That The Key Value Of Crowdfunding Sites Is To Build Community, Not Raise Money
  • Publicity Alone No Longer Sells Movie Tickets

The insights are many, including:

“Today, the reality is that most independent films, even highly successful ones in the United States, have very little to no distribution in the majority of countries around the world…. Up to 40% of the audience that is following an independent film on Facebook is most likely living in a country where the film will never be released…. This has led to an increase in piracy that is not based on a desire to steal the film and watch it for free, but rather based on a the lack of availability when the global word-of-mouth is at its peak.”

And:

“More than any other platform that have preceded them (including behemoths like Facebook and Twitter), Kickstarter and Indiegogo create the most important and impactful communities for creators on the internet…. Those that have skin in the game (i.e. are “invested”) are the most important and loyal fans a filmmaker will ever have in their career.”

My take: this makes fascinating reading. Required reading. More by Marc to come.

How would you redesign Copyright?

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Copyright is a 350-year-old legal concept at the heart of the financial exploitation of most creative works.

Open Media International wants to know how you would revise copyright law. They’re hosting an innovative interactive website you can use to let them know how you feel.

“Whenever you share, create, or collaborate, you are working with copyright rules. These rules, codified in law, increasingly shape what you can and cannot do both online and offline. They influence how creators are supported, the options for expression online, and how we participate in society. We’re setting out a participatory process to develop a crowdsourced vision for copyright rules that work for everyone in the 21st century — ‘Your Digital Future.'”

It’s fun, thought-provoking and easy-to-use. Check it out today.

My take: to me, compensating for copyright and the right to copy in a digital age should be easy. See my two minute short on the subject. After all, the Internet logs every hit by design. It shouldn’t be that difficult to build on that.

Microsoft wants to be a content company too

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Microsoft want to position its Xbox One as a platform for the content it plans to begin releasing next month.

“Starting this June, you’ll have more reasons to love your Xbox: Xbox Originals – premium dramas, comedies, documentaries, animation, unscripted shows, and live events. Available only on Xbox 360, Xbox One, and other Microsoft devices, every Xbox Originals show will offer interactive capabilities, as well as unique interactive features customized on a per-show basis, making it a one-of-a-kind entertainment experience you won’t find anywhere else.

Xbox Entertainment Studios has attracted a slew of top Hollywood talent to develop its original programming slate, with names like Steven Spielberg and Ridley Scott attached to two separate scripted projects based on the “Halo” franchise – but that’s only the beginning. Other shows in production include an unscripted series about international street soccer, an original drama about robotic servants in a dystopian world, and a documentary about the search for discarded Atari games in a desert landfill – which were unearthed yesterday in New Mexico – amongst several others.”

Of course, Netflix is the streaming king right now; they are platform agnostic. The silent giant in the corner is Sony with its PS4 and vast media holdings.

My take: although Microsoft is loosing the next gen console wars on price alone, there’s an outside chance that those Kinect motion sensor cameras might be just the ticket they need to build in interactivity into narrative content. Everyone else is using a second screen to do that right now.

The State of Online Streaming Today

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Qwilt has just released a very interesting report.

Ignore the headline touting Amazon Instant Video.

The real takeaways are here:

  • Online Streaming grew by 54.9% last year.
  • Netflix grew their share by 5%, rising from 52.5% to 57.5%.
  • Youtube dropped 11.3% while Xbox remained flat.

From Qwilt:

“The source of data for this report is total volume of online video traffic from US cable operators where Qwilt video delivery systems are deployed. Our video delivery systems are inserted in operator network where we can see all online video traffic, both On Demand and Live, from any content provider. We measure traffic based on the source content provider such as Netflix, YouTube, Hulu, Twitch, Apple or Amazon. Our reporting of content provider volumes is independent of the device consuming the video. So, if a consumer is watching Netflix on their Xbox, we record the event as Netflix traffic not Xbox. The same is true across Roku, Chromecast, SmartTVs, Desktops and mobile devices.”

My take: Netflix is pulling away and winning this race!

Web Series Best Practices

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Canada’s Independent Production Fund has just published the Guide to Web Series Best Practices.

In many ways, this 30-page PDF is a good primer for any digital production: web series, short or feature.

The dozen chapters range from financing, to working with micro-budget crews, to marketing and to distribution platforms.

The tone is even-handed and not sky’s-the-limit. A sample:

“Always think of your audience and what makes sense for them – will this be interesting for them? Will it be a positive addition to their overall consumption? Will they share it? If it doesn’t make sense and there isn’t a “yes” to these types of questions, it may not be a good use of your time, money and resources.”

My take: listen to this IPF advice; they fund web series!

 

Top VOD Platforms for 2014

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Short films have always been a tough sell.

In the past, specialized distributors might take them on for institutional or foreign markets. Perhaps they might get bundled into feature-length anthologies. But the money never seemed to flow back to the filmmakers.

In short, short films were destined to remain in the art realm. Starving artists practiced their craft, never expecting to be compensated for creating their art.

Now, however, we are witnessing the emergence of a new model. iTunes has paved the way, proving that the public will pay for music, track by track. Video On Demand may be the equivalent mechanism for the independent filmmaker.

VOD lets filmmakers exhibit their films directly to their audience, at a price they choose. It promises to be the means of monetization for indie films of all lengths and genres.

Douglas Horn has researched the top five VOD platforms. He scopes out the problem, charts the top five and reviews their services.

My take: well worth the read! I’ll be following his real-world tests. Good luck, Douglas!

Infographic: You in Filmmaking

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From Filmsourcing, comes this hilarious flowchart: What’s Your Place in the Film Industry?

The colourful infographic illustrates pathways to 30 different occupations such as Head of Film Commission and Acting Teacher. Two examples:

“Start here -> Do you appreciate money above all else? -> No -> Can you get excited about someone else’s idea? -> Sure but I’ll make it mine -> Do you have exceptional talent? -> Yes -> Are you unknown and/or female? -> No -> Director”

“Start here -> Do you appreciate money above all else? -> No -> Can you get excited about someone else’s idea? -> I can fake it -> Are you visually oriented? -> No -> Are you skilled at cleaning up other people’s mess? -> No -> Are you musical? -> No -> What CAN you do? -> Sit -> Audience”

See the full infographic.

My take: too funny! Spot your role and work forward to it. You will laugh, and maybe learn something about yourself.

Choicebook wants your opinion

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Is a survey still a survey if you call it something else?

The CRTC wants your opinion about TV in Canada. Will you pay more? Do you want the Internet regulated?

Visit Choicebook to have your say.

“Canadians like to watch television and for many of them, the way they do so is changing. More and more people are watching their favourite shows on their cable or satellite company’s on-demand service, over the Internet and on tablets and smartphones. The way Canadians think about—and even interact with—television is clearly not the same today as it was just a few years ago. At the CRTC, we want to make sure that the television system meets the needs of Canadians – as citizens, creators and consumers. We understand that the system has to adapt to remain healthy, continue to offer different kinds of programming and be responsive to Canadians’ expectations over the coming years.”

But do it soon. Choicebook closes on March 14, 2014.

My take: it’s in your best interest to invest the time to let the CRTC know what you’re thinking.