Today’s guest post is from Thomas Beatty, writer and co-director of The Big Ask. Beatty offers his advice about one of the things we are hearing over and over again from sales agents, the power of the “star” cast to encourage significant distribution offers. This is especially true for indie dramas that are incredibly difficult to sell without notable cast to market.

When it comes to distribution, one of the best things you can do to help your movie is to get recognizable actors with whom your audience already has a positive relationship. While I would never recommend choosing fame over talent, why not aim high and try to get that dream person who is an amazing actor and also brings an audience with them? While you may not get a legitimate movie star, that doesn’t mean you can’t get someone who is incredibly talented and make it a hundred times easier on yourself to get distribution and visibility for your movie.  Below are some things that we found incredibly helpful in putting together our dream cast.

1. Write for actors.

Whether you yourself are a writer or you’re looking around for material to produce or direct, look for parts and stories that will specifically appeal to actors. Like in all endeavors, you have your best chance of being successful if everyone involved is getting something they want. On your low-budget indie, you can’t make a fair money trade, but you can give actors the opportunity to do special work and to expose their audience and other filmmakers to parts of their range they haven’t gotten to show before.  I was an actor for years and am the son of an actor.  I feel that one of my strengths as a writer is being able to write parts that help actors do their best work. All the performances in our movie are incredible and I hope that the script and our style of directing helped in that.

If you’re not an actor, consider reading some seminal books on acting and its different techniques.  You could also ask a talented actor you know how they break down a script and consider that when choosing your story.  Ask yourself if your script does everything it can to help an actor do their best work or whether it’s fighting the actors and asking them to make up for the script’s deficiencies.  Is it clear what the characters want scene by scene and over the entire arc?  Do they get the opportunity to really change?  Actors are often great judges of material. Don’t go to them with something unless you truly believe it’s great.

The script for The Big Ask was the fifteenth or so that I had written and the first I tried to make because it was the first I thought was good enough.  Beyond being good enough, I thought it would stand out as unique in the pile of scripts that most recognizable actors have in front of them.

The Big Ask movie

2.  Find a good casting director.

Everyone wants to feel safe and supported when embarking on a creative enterprise that will leave them incredibly vulnerable.  Knowing that a casting director they respect believes in the project is a huge advantage.  Everyone knows they’re going to have to work incredibly hard to get the eyes of known talent on their script, but why not start with known casting talent?  We got incredibly lucky when Rich Delia, then of Barden Schnee Casting, took on our script.  They cast bigger, award-winning movies like Winter’s Bone and The Help and every actor knows them and respects them.

When they agreed to cast the movie within our budget constraints, it was the first, and perhaps biggest, break in our preproduction process.  While it’s incredibly helpful to have a great casting director, don’t spend a quarter of your budget on a casting director that begrudgingly agrees to take you on.  Make sure they believe in your movie, or they won’t give it the attention you want them to give it.  No matter what, you’ll be fighting for time against other movies that are paying their salaries and their rent.  Make sure they want to be working on your movie.

3.   Plan your shoot around TV shooting schedules.

When deciding when to shoot your movie, take into consideration when TV shows are shooting.  We shot during the second half of pilot season.  Our thought was we would get people after they’d shot their pilots but before they started their season.  That time is often when network shows are on leave as well.  As cable channels and even networks no longer have a set season, it becomes more difficult to schedule around television work, but it’s still worth considering, especially if you have one or two principal actors.  Some people also schedule their short indies during the vacation periods like Christmas, but then you run the risk of people wanting to be with their families.  We had to schedule around 6 principals in our ensemble.  Hopefully you will be primarily worried about one or two actors.

4.  Pick specific actors with something to gain.

Part of the reason we put so much stress on TV schedules was the belief that our best chance of getting interest from more established actors would be to focus on really talented actors doing very specific things on television who might be looking to stretch their range.  Gillian Jacobs does amazing work on “Community,” but is she using all the tools she learned at Julliard?  At the time we were casting, David Krumholtz was just finishing the pilot for “Partners.”  We’d loved watching David for years and knew that he could easily transition from a multicam to an indie.  When we cast him he laughed and said “I can’t believe you gave this part to a Jew!”  He then went on to thank us for believing he could carry a movie in such a dramatic role.  He said that he relished the opportunity to do parts like this.  Don’t be afraid to try to think from the perspective of actors and trust your intuition about which actors out there have more to offer than they’re getting to show.

In our case, working with an ensemble of other great actors was part of the appeal.  But often, part of what an actor wants to show is that they can carry a movie.  David certainly was the center of our movie and I know that playing the lead appealed to him.  Often approaching an actor with the opportunity to be at the center of a movie and be responsible for carrying it can make your movie stand out if mostly they spend their time playing supporting roles.

There are so many things that you have to think about when putting together a small movie.  It’s nearly impossible to make something even half-way good, and equally as difficult to get people to pay attention to it.  Reaching high with your casting is just one thing you can do to help yourself along.  While every rule in indie filmmaking is there to be broken, trying hard to cast recognizable, talented actors can only help you.

The Big Ask

THE BIG ASK’s co-directors Rebecca Fishman and Thomas Beatty

THE BIG ASK is Thomas Beatty’s first feature film as director. He has previously shot a number of short films, and along with his writing partner, Matthew Gasteier, he is repped by UTA and has projects in development with Broken Road and Scott Stuber Productions, among others. During his five years at Lakeshore Entertainment, Beatty helped guide thirteen films from script to screen including UNDERWORLD 3 and CRANK.

THE BIG ASK is now available on various digital platforms including iTunes.

May 28th, 2014

Posted In: Distribution, iTunes, Marketing

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Today’s guest post is from Matthew Helderman, founder and CEO of Buffalo 8 Productions and BondIt, a new service that cash-flows union bond deposits for independent feature films. Having just returned from this year’s Cannes Film Festival, here are his impressions and advice for filmmakers thinking of attending the festival one day.

Cannes 2014 – Introduction

Each year tens of thousands descend upon Cannes in the south of France for the biggest and most exceptional film event of the year. From screenings of competition films, market shopping for completed films looking for additional sales opportunities and more events than one can count — the Cannes Festival is all at once incredibly exhilarating, essential for business and filmmaking endeavors and downright exhausting!

Cannes is the essential market for both new & old content — whether developing new material, finishing up post-production on others or selling international rights for ancillary one off revenues or library generating cash-flow.

Over the past few years as our feature film library has grown in size from a handful of titles to nearly 35+ titles by Cannes 2014 — our approach and experience at the festival has changed. At Buffalo 8 Productions — we represent a library of feature films ranging from micro-budgeted $100k features up to films at the $3M mark — spanning genre’s, cast strength and value.

Buffalo 8 Cannes image harbor night

Cannes 2014 – The Set-Up

Cannes is unique in that it offers four elements:

The most prestigious film festival in the world with in competition films typically ending up in Oscar and international award season contention. Additionally, there are a slew of films that screen out of competition that the festival honors for their efforts and merits — think “All is Lost” in 2013 or “Lost River” in 2014 — strong titles that have commercial value and artistic integrity — the essence of the Cannes appeal.

The biggest film market in the world with over 1,500 new film titles for sale and on display for the international buying community. The “Marche” is often times a difficult pill to swallow — with hundreds upon hundreds of films from across the world — the first visit to the market is hard to comprehend. Selling and buying are both relationship based communities in the film business – requiring pre-established relationships with sales agents (those who represent content internationally) and buyers (distributors in individual territories around the world).

The strongest worldwide representation at the international pavilions with each major country in the world representing their national film programs — from tax incentives, to promotions to rebates and panels — each country seeking to draw in productions offers an all inclusive look and conversation into the dealings of their specific region. Often used as meeting places (since Cannes has very limited seating areas in the Marche and festival), the pavilions serve as a landing base for much of the conversations during the 10+ days of Cannes — which offer the countries with the strongest presence an ability to market their offerings while playing host to the film community.

The most important and constant social & networking events that anyone has ever seen. From panel discussions with big name producers, directors and the like to parties at villas, clubs, beach front and yachts to the invite only exclusive dinners and hotel gatherings — Cannes offers the best opportunity year round for the filmmaking and distribution community to mingle for fun and business.

But there is a catch…

Cannes Opportunity Cost

The most difficult part about attending Cannes is deciding how best to spend your valuable time. The cost of attending is steep both financially, time wise (the travel from Los Angeles is 15+ hours door-to-door) and opportunity wise. If you spend all of your time seeing the great films you’ll miss the networking and sales opportunities. However, if you spend all your time networking and selling, you’ll miss the festival — which is a difficult pill to swallow given the strength of the titles screening at Cannes each year.

Assessing your main objectives months before you attend is crucial — are you looking for financing? If so, pre-sales discussions with sales agents in the Marche is crucial.

Are you seeking tax incentives and interested in discussing with international territories about your options? Then spending your time at the pavilions is the best option.

Regardless — you’re going to need to plan your goals well in advance, schedule your meetings 50+ days out (everyone’s schedules get ridiculously crowded) and be prepared to miss out on events you want to attend (it’s simply not possible to attend everything).

The Buffalo 8 Productions & BondIt Approach to Cannes 2014 

With a library of content for sale, multiple projects gearing up for production and a continued need to expand our social and business networks — we spent our time divided up among our company divisions.

Our film team at Buffalo 8 spent their days selling in the Marche and meeting new buyers to form relationships with companies we’ll be in business with for the rest of the year. An interesting piece of advice here being that if you live in Los Angeles – take meetings with people & companies that live elsewhere (similarly for NYC, Chicago, etc…) — this is your rare chance each year to be face-to-face with buyers from every corner of the world. And even in the current times of easily transferred digital files for streaming and viewing purposes – meeting with financiers, buyers and the like go a long way.

Our production team spent time meeting with financiers who cash-flow tax incentives, pre-sales and those looking for equity investment opportunities. These meetings are more difficult to come by and require advance planning to keep the momentum sustained during the craziness of Cannes.

Our BondIt team (BondIt cash-flows union deposits for independent feature films freeing up cashflow liquidity) split their time between finding companies who actively produce content between $100k – $10M budgets (the sweet spot for the BondIt application) and those looking for equity investments into media technology companies. Note here that all of these meetings — at least a large portion — were pre-planned and scheduled. Again, most of the big hitters in Cannes whether individuals or companies have packed schedules so getting in front of them is only possible if you’ve pre-scheduled.

Cannes Conclusions

Once you’ve attended your first major market (Berlin, Toronto, Cannes), it’s difficult not to go back for another year. The value of attending is so high from a networking, business and relationship stand point. Before attending the major markets, Buffalo 8 was a smaller boutique production entity with limited international presence — but now having attended markets for several years, our database of useful contacts and our business have grown simultaneously.

Weigh out the pro’s & con’s of attending — be self aware in what you’re seeking and who will be attending that could facilitate what you need and may be willing to grant a meeting with you. Recognize that the investments available at Cannes are insanely competitive (Martin Scorsese attended the 2013 Cannes market seeking financing for multiple productions) as the world of financing and distribution continues to get stranger and stranger (a nice way of saying it’s getting overly complicated and competitive).

Pre-plan your meetings and have a goal in mind for each contact you sit down with and leave room for those coincidental meetings that will often happen (but don’t bank on them) that could open new doors.

Cannes is the most important event of year — make the most of it and you’ll never remember why you weren’t there years before.

BondIt was founded by independent film producers Matthew Helderman & Luke Taylor of Beverly Hills based Buffalo 8 Productions. Having produced 30+ feature films, the team recognized a dilemma in the production process union deposits and launched BondIt to resolve the situation to assist producers & union representatives alike. 

Buffalo 8 Productions

 

www.Buffalo8.com

www.BondIt.us 

May 22nd, 2014

Posted In: Distribution, Film Festivals, International Sales, Uncategorized

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Selling Your Film Outside the U.S.

 

In this final excerpt from our upcoming edition of Selling Your Film Outside the U.S., Wendy Bernfeld of Amsterdam-based consultancy Rights Stuff talks about the current situation in Europe for independent film in the digital on demand landscape.

There have been many European platforms operating in the digital VOD space for the last 8 years or so, but recent changes to their consumer pricing structures and offerings that now include smaller foreign films, genre films and special interest fare as well as episodic content have contributed to robust growth. European consumers are now embracing transactional and subscription services , and in some cases ad-supported services, in addition to free TV, DVD and theatrical films. Many new services are being added to traditional broadcasters’ offerings and completely new companies  have sprung up to take advantage of burgeoning consumer appetite for entertainment viewable anywhere, anytime and through any device they choose.

From Wendy Bernfeld’s chapter in the forthcoming Selling Your Film Outside the U.S.:

Snapshot

For the first decade or so of the dozen years that I’ve been working an agent, buyer, and seller in the international digital pay and VOD sector, few of the players, whether rights holders or platforms, actually made any serious money from VOD, and over the years, many platforms came and went.

However, the tables have turned significantly, and particularly for certain types of films such as mainstream theatrical features, TV shows and kids programming, VOD has been strengthening, first in English-language mainstream markets such as the United States, then in the United Kingdom, and now more recently across Europe and other foreign language international territories. While traditional revenues (eg DVD,) have dropped generally as much as 20% – 30%, VOD revenues—from cable, telecom, IPTV, etc.—have been growing, and, depending on the film and the circumstances, have sometimes not only filled that revenue gap, but exceeded it. 

For smaller art house, festival, niche, or indie films, particularly overseas, though, VOD has not yet become as remunerative. This is gradually improving now in 2014 in Europe, but for these special gems, more effort for relatively less money is still required, particularly when the films do not have a recognizable/strong cast, major festival acclaim, or other wide exposure or marketing. 

What type of film works and why?

Generally speaking, the telecoms and larger mainstream platforms prioritize mainstream films in English or in their local language. In Nordic and Benelux countries, and sometimes in France, platforms will accept subtitled versions, while others (like Germany, Spain, Italy, and Brazil) require local language dubs. However, some platforms, like Viewster, will accept films in English without dubbed or subtitled localized versions, and that becomes part of the deal-making process as well. This is the case, particularly for art house and festival films, where audiences are not surprised to see films in English without the availability of a localized version. 

Of course, when approaching platforms in specific regions that buy indie, art house, and festival films, it is important to remember that they do tend to prioritize films in their own local language and by local filmmakers first. However, where there is no theatrical, TV exposure, or stars, but significant international festival acclaim, such as SXSW, IDFA, Berlinale, Sundance, or Tribeca, there is more appetite. We’ve also found that selling a thematic package or branded bundle under the brand of a festival, like IDFA, with whom we have worked (such as “Best of IDFA”) makes it more recognizable to consumers than the individual one-off films. 

What does well: Younger (i.e., hip), drama, satire, action, futuristic, family and sci-fi themes tend to travel well, along with strong, universal, human-interest-themed docs that are faster-paced in style (like Occupy Wall Street, economic crisis, and environmental themes), rather than traditionally educational docs or those with a very local slant. 

What does less well: World cinema or art house that is a bit too slow-moving or obscure, which usually finds more of a home in festival cinema environments or public TV than on commercial paid VOD services, as well as language/culture-specific humor, will not travel as well to VOD platforms. 

Keep in mind that docs are widely represented in European free television, so it’s trickier to monetize one-offs in that sector, particularly on a pay-per-view basis. While SVOD or AVOD offerings (such as the European equivalents of Snagfilm.com in the US) do have some appetite, monetization is trickier, especially in the smaller, non-English regions. Very niche films such as horror, LGBTQ, etc. have their fan-based niche sites, and will be prominently positioned instead of buried there, but monetization is also more challenging for these niche films than for films whose topics are more generic, such as conspiracy, rom-com, thrillers, kids and sci-fi, which travel more easily, even in the art house sector. 

However, platforms evolve, as do genres and trends in buying. Things go in waves. For example, some online platforms that were heavily active in buying indie and art house film have, at least for now, stocked up on feature films and docs. They are turning their sights to TV series in order to attract return audiences (hooked on sequential storytelling), justify continued monthly SVOD fees, and /or increase AVOD returns. 

Attitude Shifts

One plus these days is that conventional film platform buyers can no longer sit back with the same historic attitudes to buying or pricing as before, as they’re no longer the “only game in town” and have to be more open in their programming and buying practices. But not only the platforms have to shift their attitude. 

To really see the growth in audiences and revenues in the coming year or two, filmmakers (if dealing direct) and/or their representatives (sales agents, distributors, agents) must act quickly, and start to work together where possible, to seize timing opportunities, particularly around certain countries where VOD activities are heating up. Moreover, since non-exclusive VOD revenues are cumulative and incremental, they should also take the time to balance their strategies with traditional media buys, to build relationships, construct a longer-term pipeline, and maintain realistic revenue expectations. 

This may require new approaches and initiatives, drawing on DIY and shared hybrid distribution, for example, when the traditional sales agent or distributor is not as well-versed in all the digital sector, but very strong in the other media—and vice versa. Joining forces, sharing rights, or at least activities and commissions is a great route to maximize potential for all concerned. One of our mantras here at Rights Stuff is “100% of nothing is nothing.” Rights holders sitting on the rights and not exploiting them fully do not put money in your pockets or theirs, or new audiences in front of your films. 

Thus, new filmmaker roles are increasingly important. Instead of sitting back or abdicating to third parties, we find the more successful filmmakers and sales reps in VOD have to be quite active in social media marketing, audience engagement, and helping fans find their films once deals are done.

To learn more about the all the new service offerings available in Europe to the savvy producer or sales agent, read Wendy’s entire chapter in the new edition of Selling Your Film Outside the US when it is released later this month.  If you haven’t read our previous edition of Selling Your Film, you can find it HERE.

May 15th, 2014

Posted In: book, Digital Distribution, Distribution, International Sales

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Today’s guest post is from TFC member John Chi whose microbudget film Tentacle 8 was recently released by Grand Entertainment Group. We thank John for sharing his experience with TFC and the knowledge he gained during the distribution phase of his film so that all independent filmmakers might benefit.

Changing The Paradigm

The first thing every filmmaker should ask themselves before considering to make an independent feature film is: how badly do I want to do this?  Are you prepared to do everything it takes, and make the necessary personal and professional sacrifices to ensure your film gets made and seen by an audience?  Often times, filmmakers think the answer is yes, when in fact it’s something less clear.

You can make it easier on yourself by writing a script that’s marketable, fits the sweet spot of what other people think you should be doing, saying, feeling, and thinking.  Then Google “how to win major awards at Sundance, SXSW, Toronto, Cannes and start a bidding war” and click, “I’m feeling lucky.”   That’s definitely a path many people take.

But like most independent filmmakers, who aren’t answering to studios or huge investors, it’s against our nature to do what other people tell us to do, especially when it comes to what’s popular or in vogue.  We’ll be the one that breaks the mold; we’ll be the one that changes the paradigm.  That’s exactly what we said as we assembled our team for TENTACLE 8.  We would be the one film that would change the paradigm of what’s possible.  We were going to make a global espionage movie about the NSA, shoot it in 15 days, and do it within the Ultra-Low Budget SAG agreement.  While many saw disaster, we saw opportunity.  It was our chance to stand out from the crowd, and do something either truly brave or astoundingly idiotic.

Just Get Through Production

John Chi Tentacle *

Director John Chi on the set of Tentacle 8

I was determined to make TENTACLE 8, a film that addressed social and political issues that wasn’t being addressed anywhere else.  At least not in narrative features.  My job was to assemble a team of filmmakers that shared my ambition, my optimism, and my foolishness to attempt what appeared on paper to be an impossible task.  If we kept saying that we were going to be the one, and preached it often enough, it would become true.  We would be the film that would change the paradigm of what independent films were capable of.

For most first time feature filmmakers, like I was, I thought Production would be the most difficult part of the journey.  It’s what most filmmakers are pretty good at, and best prepared to do.  I won’t describe at length what it took to get TENTACLE 8 made.  Instead, I’ll just say that it took an incredible amount of ingenuity, effort, and hard work to pull off what we did.  It was an extraordinary synergy of trust, belief, attention to detail, and commitment that made it all possible.  There were many selfless acts of kindness from people who didn’t have any reason to help us, but did anyway.  They were our angels.  Without them, we wouldn’t have finished the movie on our budget.  You can’t plan on those things happening, you just need to make sure you treat other people with respect, be humble, and always act professionally.  Don’t make it easy for other people to turn you away when you ask for help.  You might get lucky.

Making a movie is a labor of love under extremely stressful conditions, which tends to bond people.  By the end of production, we believed that we had accomplished something very special together.  We had done it.  We were on our way to realizing our mantra.  We were going to be the film that changed the paradigm.

High Hopes and First Impressions

Several months later, we were ready for our coming out party.  We had worked really hard to put a solid, but not perfect, festival cut together for people to start looking at.  One of our first calls was to The Film Collaborative.  We thought they would probably put us in touch with all the festival programmers at Sundance, Cannes, Toronto, et al, and we could focus on our travel plans for the next year.  Jeffrey Winter, co-executive director of The Film Collaborative, was kind enough to watch our film, and give us some feedback.

I remember reading his comments the first time over, scanning it quickly looking for the words, “great, fantastic, ground breaking, change the paradigm”….but I didn’t see them.  So I read the email again a bit more carefully.  Maybe I missed it.  “Not a festival film.  Difficult to market.  No marketable name talent.  Challenging subject matter and run time will make it difficult to program.  Proceed with modest expectations”.  This had to be a mistake.  Maybe the DVD screener got mixed in with someone else’s packaging.  I read the comments over, and over again.  Maybe if I read them often enough, cursed them loudly enough, they would magically transform into the words I was looking for.  That never happened.

Filmmakers Are Often In Denial

We went ahead anyway and applied to all the major film festivals and some regional ones as well.  A year later, and a folder full of spiritless rejection form letters, we hadn’t been accepted into any film festivals.  Maybe Jeffrey Winter was on to something.

Putting away those dreams of being courted by rabid, hungry distributors, waving seven figure blank checks in the air, was hard.  It was more than a dream, it was almost an expectation.  Make a great film, and the rest will come.  Didn’t anyone know that we were going to be the one?

We asked our sales agent, Glen Reynolds from Circus Road Films, to start reaching out to distributors.  1% of all feature film applicants get into Sundance.  Maybe it’s less.  Out of that 1% maybe half get some distribution opportunity.  A long and painful eight months or so had passed waiting to get into a film festival, with no results.  It was time to roll up our sleeves, and take back some of our own fate.

What happens to films that don’t win the Palm D’Or or the Grand Jury Prize?  What happens to films that aren’t on the other end of Harvey Weinstein’s phone call?  The first thing we needed to understand was that no one was going to do the hard work for us.  There simply is no substitute for grinding it out, and doing the dirty work.  The Film Collaborative, along with other indie film organizations like Film Courage, IFP, Film Independent, San Francisco Film Society, and Hope For Film, to name just a few, all have archives full of useful information written by filmmakers for filmmakers.  We scoured them all, looking for nuggets of truth in every success story, hoping to recognize some shared path to that pot of gold.  The only thing those stories shared in common, was that there was no common path to success.  They were as unique as the films they made. 

Distribution For The 99%

Finding a distributor via our sales agent didn’t take very long.  After maybe two months of sending out screeners (or viewing online screeners), we had a handful of distributors that were interested in distributing our film.  Hallelujah.  Victory!  Time to celebrate and take a much needed sigh of relief.  We reached out to TFC again and sought out their counsel to help us make the best decision.  We explored DIY distribution, and traditional VOD/Digital distribution, making sure we understood all the variables and decisions that went into each approach.  I had a conversation with TFC founder Orly Ravid about our options, and she told us that our film wasn’t mainstream enough for any distributor to really go out on a limb for us.  We could:

1) bypass the traditional distributor and go with a DIY approach, put in a lot of additional time, energy, and money with no guarantees of success; OR

2) sign on with a traditional distributor and manage/lower our expectations.  Orly made it very clear that no distributor was going to spend a lot of money or expend a lot of energy marketing the movie.  Whatever we could get them to commit to, we should try to get in writing.

That bit of honest feedback was an unexpected buzz kill, and didn’t exactly sound like a reason to celebrate.  After going through our options again and really assessing the pros and cons of each approach, we ultimately chose to go with a traditional distributor, Grand Entertainment Group.  Grand is a new distribution company that focuses on championing unique and innovative voices, founded by long time home entertainment executives that had 20+ years of experience distributing independent films for Lionsgate and ThinkFilm, among others.  We felt they could help us reach a much wider audience than we could ever reach on our own.  There was just no way for us to get our DVDs onto store shelves at Walmart or Best Buy, or land a cable TV deal without their help and prior relationships.

Two long years after we finished shooting the film, finally our work was done.  Everything would be clearer, and all of our problems would get solved once we signed with our distributor.  Right?

Our Moment of Truth

It’s at this critical stage, that films either go on to thrive and find success or get completely lost in a giant swamp of never to be seen again films.  No one cares about your film more than you do.  Not your sales agent, your producer’s rep, your distributor, your publicist, no one.  To them, as committed and dedicated as they might be, it’s still a job.  To you, it’s your life.  This goes back to the question you should have asked yourself when you started:

How badly do you want to do this?  Are you prepared to do everything it takes, and make all the necessary sacrifices, personal and professional, to ensure your film will be made and seen by an audience?

My producer, Casey Poh, gave me a statistic from his studies at the Peter Stark Producing Program at USC:  It takes a $5M minimum marketing spend to make a dent in DVD sales.  I don’t know how true that is, but for argument sake, let’s say it’s only 10% of that, which is still $500,000.  There are no distributors in the world that will spend that kind of money on your movie if it didn’t win Sundance, SXSW, Toronto, etc., and definitely not for a film like TENTACLE 8.  But we still had some false notions that our work was done, and that our distributor was going to be out there marketing the film 24/7.

Thankfully, like most independent filmmakers, we’re obsessive.  So we plan, and plan, and plan, down to the very last detail.  Website updated, new content on Facebook every day up until the DVD release, maintain and energize the interest of our cast and crew.  Be active on Twitter, start tweeting things that make you an interesting follow.  Share interesting things about other people and other interests.  Repeat and accelerate.  List all the things you want to have happen:  NY Times review, University and College theatrical tour, major launch parties, DVD premiere at the Arclight, Spirit Award Nomination.  Didn’t people remember that WE were the one?

My Moment of Clarity

With only a few weeks to go before our DVD release date, we noticed that our wish lists were still only wish lists.  Our action plans were gathering e-dust, and we weren’t any closer to making them happen than the day we typed them into our laptop.  We had put years into getting the film to this point.  There was no one to blame other than ourselves if it tanked.  As the creator of the material, as the producer/director/writer of the film, there was no one else more responsible for marketing and promoting the movie than me.  No one else was going to come to my rescue.  Not my friends, not my family, not my producers, my sales agent, my distributor, no one.  I had to give them a reason to believe that my film was worth their time, their attention, their money.  Just maybe after I had done all the groundwork, someone might be inspired to help.  As soon as I came to terms with that, it was much easier to move forward.

We did an inventory of the assets we had:

  • We had made a movie about the NSA, which by an incredible stroke of fate, had been splashed across the headlines in the previous months;
  • We had several soap opera actors with very popular and loyal followings from their fans;
  • We had made a completely original and different kind of movie that I could articulate to others with clarity and passion.

We had to mobilize our assets as quickly and as provocatively as we could to all those outside our bubble of cast and crew.  Prior to our DVD release, there were three very influential moments that impacted our awareness:

1) NSA whistleblower Edward Snowden became an international headline;

2) Not so random acts of kindness and generosity from Soap Opera Network, Go Into The Story, and Film Courage;

3) I realized NO ONE WAS COMING TO RESCUE ME if I didn’t fully and actively solicit an audience for my movie.

Our Watergate Moment

Casey had mentioned months ago that we needed a Watergate moment to spark some interest in the movie, in reference to ALL THE PRESIDENT’S MEN, a movie that inspired TENTACLE 8.  I laughed off that notion, but as fate would have it, news of NSA whistleblower, Edward Snowden, splashed across every news headline around the world.  We finally caught a break.  As tragic and as difficult as it was for Mr. Snowden, it was something that we had to capitalize on.  We started branding the movie as the NSA-themed Independent Feature Film.  I used that as the header for every unsolicited email I wrote to every journalist, blogger, activist, and film enthusiast I could find on the internet.  I started making bold and provocative statements on Twitter regarding privacy rights, and the treatment of whistleblowers, always making sure I hashtagged #TENTACLE8 with #NSA.  Slowly but surely, we were building an awareness and interest in both the film, and us as filmmakers.

When Life Gives You Lemons, Make Soap

We also had several cast members who had a large soap opera following, as current and former stars on some very popular soap operas. Joshua Morrow stars on the very popular “The Young and the Restless”, Matthew Borlenghi had a long and successful run on “All My Children”, as did John Callahan on “All My Children” and “Days of Our Lives”, veteran character actor Bruce Gray was on several popular soaps, and Teri Reeves, who most recently starred in NBC’s “Chicago Fire,” was a one-time “General Hospital” regular.  It would be a huge mistake not to reach out to this fan base.

Two weeks prior to our DVD release, I reached out to the Soap Opera Network, and wrote them an email introducing myself and the movie.  A few days later, Editor in Chief, Errol Lewis and West Coast Editor Kambra Clifford responded.  We had several very enthusiastic email exchanges describing what we were looking to do, and they agreed to publish and promote an article on the film, and our actors.  We’ve continued to discuss ways in which we can cross promote our mutual interests.

Scott Myers and Go Into The Story

I had written close to a hundred unsolicited emails to almost every film journalist, critic, blogger, and movie enthusiast in the indie film world known to Google.  There’s something to be said for a well crafted email to introduce yourself, why you’re writing them, and a little about your film.  It’s probably no accident that influential screenwriter and screenwriting teacher, Scott Myers, was one of the very few people who responded.  His blog, “Go Into The Story” is widely considered to be one of the most influential screenwriting blogs on the internet.  It was a real break for us that Scott offered to do a brief write up on the making of TENTACLE 8, as part of his “Movies You Made” series.  This was exactly the right audience that would appreciate an intricately written, complex, and thought provoking movie like ours.  The feature was posted a day before our DVD release, and links tweeted continuously for about a week.  We continue to use that feature in our marketing efforts.

Film Courage

Lastly, I would say our feature on FilmCourage.com was the single most influential piece of internet marketing that helped our success.  Karen, David, and April were among the most gracious and hospitable collaborators we were lucky enough to work with, during the entire process.  They just inherently understood our situation and wanted to help.  Like The Film Collaborative, their followers are really loyal and dedicated to the independent film cause and help filmmakers educate themselves.  Being featured on their site gave us some much needed credibility and visibility with the community that we wanted our film to be a part of.

Early Exit Poll Results

After eight days of release, our initial DVD allotments sold out at WalMart, Best Buy, and Amazon.com.  IMDB put us on a list (#12 out of 192) of Most Popular Independent Feature Films released in 2014, based on their Movie Meter Rankings.  Considering there are thousands of movies made each year, this was an incredible feat, given we’re such a small film.  It goes to prove that a small, but dedicated following can move mountains, and probably has a greater chance at long term sustainability.

There’s no magic solution, you just have to grind it out and do the work.  Hundreds of tweets, unsolicited emails, creative Facebook posts, introducing yourself, your film, and your purpose.  There’s no fancy diet, no elaborate exercise machine to get around the fact that if you want to lose weight, you have to eat less and exercise more.  Similarly, if you want to build an audience, there’s no app, or software, or social media guru that’s going to magically build your audience for you.  You do it one follower at a time.

In retrospect, one of the biggest mistakes we made was being a bit too precious about who we followed and didn’t follow on Twitter.  We didn’t quite know how to exploit Twitter at first, but like everything else, we learned on the fly, and were able to course correct in time to build a strong following for the film, and us the filmmakers.

Are we the film that changed the paradigm of what micro-budget independent films are capable of?  We defied the odds in many ways, making a movie without a strong marketing hook, for a niche audience that wasn’t easily identifiable, and we secured DVD and VOD/Digital distribution without getting into one film festival.  We listened and valued all the guidance we got, from TFC and others we sought input from, even though we didn’t always follow their advice.  So did we break the mold?  I’m not sure that matters so much anymore.  We never stopped believing that we could.

April 23rd, 2014

Posted In: case studies, Digital Distribution, Distribution, DIY, Marketing, Social Network Marketing

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This week’s member profile looks at the documentary The New Black, an examination of how the African-American community is grappling with gay rights issues and homophobia in the black community’s institutional pillar—the black church.

Producer Yvonne Welbon and director Yoruba Richen shared how The Film Collaborative helped them figure out the right distribution strategy for their film.

New Black

At what stage in the production process was TFC consulted?

“We reached out to TFC after completing the film, about a month before we premiered at the LA Film Festival in June 2013.”

What advice was sought from TFC and what ultimately happened with the release of the film? What results were achieved with TFC’s help?

“We sought a lot of advice from TFC. They were instrumental in helping us figure out our film festival strategy both domestically and internationally. To date, we have screened in over 50 film festivals around the world.

TFC was also helpful in figuring out distribution options. Orly Ravid provided consultation services in terms of figuring out the foreign market for our film. She helped us to be realistic in terms of what to expect because of the subject of our film. She was right. And each distributor who loved our film, but couldn’t distribute it, basically told us the story she prepared us to hear.

We finally received an offer and signed with Java Films. We had a limited theatrical release and the film will be broadcast on PBS’s Independent Lens. California Newsreel is our educational distributor and we release the film on VOD next year through Sundance Artists Services.”

Where can the film be seen now?

“The film is screening all over the country. Please check the website for more information. www.newblackfilm.com. Our broadcast debut on Independent Lens will be on June 15, 2014 at 10:30pm, following Masterpiece Theater. Also, educational institutions can buy the film from California Newsreel.”

Here is a peek at the trailer

April 16th, 2014

Posted In: case studies, Distribution, Film Festivals

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This week’s member story focuses on how TFC helps filmmakers who request our consultation on their release. Director John Chi will also write a further guest post that goes into more detail about how his first feature film Tentacle 8 was released, but today he talks about how he discovered our organization and, through consultation with us, changed what he thought about distribution success.

At what stage in the production process was TFC consulted?

JC: “Three months after we wrapped production, we had a very solid cut of the film and we were ready to start showing it to people. Casey Poh, one of our producers, immediately suggested we reach out to TFC and get their thoughts. Casey had previously met Orly Ravid when he was working at Outfest, and later approached her to serve as a consultant for his Stark Producing Graduate Thesis Project at USC.

We contacted TFC and Co-Executive Director, Jeffrey Winter, was kind enough to watch our film, and give us his thoughts. He flatly stated that we weren’t a festival film, that our subject matter wasn’t mainstream enough to be programmed, and beyond that, it was going to be a very challenging film to market. This wasn’t the reaction we expected. We heard and respected Jeffrey’s comments, but we also wanted to proceed as planned. So we signed with Glen Reynolds at Circus Road Films to act as our sales representative, and began submitting to all the major film festivals.”

Did the premiere lead to any sales interest? Did you have a plan for distributing the film?

JC: “TENTACLE 8 submitted to all the major acquisition festivals (Cannes, Sundance, Toronto, SXSW, and Tribeca) and many of the other premier festivals (Slamdance, LAFF, and Seattle International), but we didn’t get into any of them. After nearly a year of futility, we accepted that Jeffrey Winter was right, and that we weren’t a good fit for festivals. We decided to go directly to distributors via our sales agent, and two months later, we received a few offers for domestic DVD and VOD/Digital Distribution.”

What advice was sought from TFC and what ultimately happened with the release of the film?

JC: “When we realized we weren’t going to get into a major festival, we contacted TFC again to explore our distribution options. The first thing we did was scour the TFC archives to read everything we could on traditional distribution, DIY distribution, and compared the pros and cons of the two approaches, incorporating any processes that were relevant to us.

I then had a thirty minute conversation with TFC founder Orly Ravid about our prospects. She very succinctly explained that our film wasn’t mainstream enough for any distributor to really go out on a limb for us. We could bypass traditional distribution and go with a DIY approach, but we’d need to put in a lot of additional time, energy, and money with no guarantees of success; OR we could sign on with one of the traditional distributors and manage/lower our expectations. She cautioned, however, that no distributor was going to spend a lot of money or energy marketing the movie. At the time, I didn’t fully understand the importance of that warning; I just wanted to move forward.

The final decision to sign with Grand Entertainment Group, was based mainly on their long history and experience in the home entertainment business. We determined that there was just no way to get a cable tv deal or get our DVDs onto store shelves at Walmart and Best Buy without their help and prior relationships.”

Where can the film be seen now?

JC: “Our DVD was released on March 18, 2014 and sold out our initial shipments at Walmart, Best Buy, and Amazon within the first 8 days of release. 8 is our lucky number!

IMDB also put us on a list of Most Popular Independent Feature Films released in 2014, based on their movie meter rankings. Pretty incredible considering we had very little press and publicity prior to our DVD release. It was based almost entirely on our small, but very loyal and dedicated base that we grew completely organically. While we are very grateful to be on any list of success stories, there are probably thousands of independents released each year that never see the light of day, which is incredibly unjust and unfair because we might have been one of those films had the ball bounced a little differently.

Our VOD/Digital release will be sometime in April or May, and we’re partnering with Tugg, Inc. to have some promotional theatrical events in Los Angeles, Washington D.C., and possibly San Francisco. I ultimately realized that no one was more responsible and obligated to market and promote the film than me, the producer/director/writer of the movie. I don’t think I would have truly understood that, if someone else had been doing it for us. We never could have harnessed and cultivated the same level of ownership our audience has with the film, if we didn’t do it the old fashioned way, by personally reaching out one person at a time. It’s really hard work, but I know we’re much stronger because of it.”

To find out more about Tentacle 8, visit these websites:

IMDB: http://www.imdb.com/title/tt2048875/

Tugg:  http://www.tugg.com/titles/tentacle-8

Facebook:  www.facebook.com/tentacle8

Webpage:  www.tentacle8.com

Twitter:  www.twitter.com/tentacle8

Amazon:  http://www.amazon.com/Tentacle-8-Brett-Rickaby/dp/B00H7LRY5E

April 9th, 2014

Posted In: Best Buy, case studies, Digital Distribution, Distribution, DIY, Film Festivals

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I am divine poster
The Film Collaborative is a non profit member organization devoted to helping independent filmmakers become better educated about their marketing and distribution alternatives. Filmmakers may choose between various levels of membership that entitle them to incremental levels of service from a free level that allows for access to our monthly newsletter, blog and Digital Distribution Guide, to levels that include hours of customized consultation about their projects from our team of festival, digital distribution, online and social media marketing and graphic design specialists.

But we also take on a select group of films to actively participate in their self financed distribution from festivals to ancillary sales facilitation to handling limited theatrical releases. As always, we never take rights away from the filmmakers and they are active participants in their release.

Over the next few weeks, I will share details and testimonials from some of the films we’ve handled over the last 3 years in effort to clarify how we service independent films when we take them on as clients.

Today will feature director Jeffrey Schwarz’s documentary film I Am Divine which saw its VOD debut on April 1. With TFC’s help, Divine played in a whopping 160 festivals around the world, garnering 6 figures in screening fees. TFC also handled the film’s limited theatrical release, securing over 50 cinemas in the US and Canada, with the film held over for 3 weeks at the Roxy Theater in San Francisco, 6 weeks at Cinema Village in NYC, 4 weeks at the Downtown Independent in LA and 3 weeks at Bloor Hot Doc Cinema in Toronto.

At what stage in the production process was TFC consulted? 

JS: “I had worked with TFC on my previous film VITO so I knew they would be able to help position the film properly. TFC helped secure our festival world premiere at SXSW 2013 and guided us through the process of our international debut at BFI Lesbian and Gay Film Festival in London and the many, many festivals that followed.”

What advice was sought from TFC and what ultimately happened with the release of the film? Basically what results were achieved with TFC’s help?

JS: “Aside from facilitating the festival screenings around the world, TFC also helped us secure international distribution in several territories. For busy filmmakers, knowing that a group of dedicated and knowledgable allies are working in your best interest is a godsend. TFC also booked the film in theaters around the country for our limited theatrical release. I AM DIVINE played in all the major American cities with great success.”

TFC colleague, Bryan Glick, was responsible for booking the theatrical release and had this to say

BG: “We never took out a single print ad in any city for the theatrical and still grossed over $80,000 theatrically. Since the launch of the theatrical release, the film’s Facebook page went from over 26,000 fans to more than 44,000.

We were able to book a lot of cities because of strong festival performance. There were a few smaller markets that were not an option, but in those cities the festival fees were far greater than anything the filmmmaker would have pocketed from a theatrical run.

Yes, you cannot play Landmark Theatres if you screen at too many festivals, but we didn’t even bother worrying about them. Instead we focused on venues with favorable terms who saw clearly the built in audience for the movie. We were able to get to over 50 engagements almost solely through booking independent art houses.

By not having to waste money on print ads, the theatrical was profitable for the filmmaker and it is still one of the highest grossing films from SXSW last year. Currently, Divine is in the top 10 docs on iTunes and the DVD pre order is in the top 20 docs on Amazon. This film could ultimately reach 300 festival and theatrical engagements.”

Where can the film be seen now?

JS: “I AM DIVINE had its VOD premiere on April 1st. The various international territories are gearing up for their releases as well.”

Check out this great documentary on iTunes, Amazon, and via its home video distributor Wolfe Releasing.

April 3rd, 2014

Posted In: Digital Distribution, Distribution, Facebook, Film Festivals, iTunes, Theatrical

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Recently, I made a post on my personal blog about why I am advising filmmakers to reconsider their use of Facebook to connect with an audience. There are lots of changes going on and it is important to understand that Facebook is a public company with shareholders to appease and a very large user base to exploit. A Facebook page is increasingly pay to play, so if you aren’t budgeting money to spend on growing your page and reaching your fans on a regular basis, you should find another way to reach them.

It’s too crowded

You may not believe it, but only 4 years ago it was not commonplace for businesses to use Facebook. Studios didn’t really get the point (most still don’t) and large corporations thought the whole social media thing was a fad that would fade. Small business pages used them to constantly talk about themselves and their products, but at least they were in the under utilized position of reaching consumers for free via a channel few put much stock into.

Now there are more than 25 million small business pages on Facebook! It isn’t easy to stand out in that crowd and only those with the most creativity, time and money can hope to compete. Sure, it feels safe now to say you have a Facebook page and you can still open a new one for free for every new project you start. But are you really going to put in the time, effort and money on a regular basis to make the page work? If the answer is no, don’t even start one.

Overcoming the Facebook algorithm

Some have said that Facebook perpetrated the biggest practical joke of the internet age by convincing brands and advertising agencies to spend money building up a large following only to restrict the ability to reach that following unless further payment is made. Others have said without the restriction, a user’s newsfeed would be inundated with useless promotional crap from companies who have no other interest than to use Facebook as a free advertising tool, ruining the ability to connect meaningfully with things users care about. However you see it, it is no secret that Facebook does indeed throttle the reach of your posts through the use of their complex and ever changing algorithms. Assume a day will come when the organic (ie, free) reach is zero.

Be platform neutral

Realize that social media channels are only tools in the long game toward building a base of support. Sure, people peruse your Facebook and Twitter follower numbers and make quick decisions about how “successful” your work is, but ultimately it is how interested, engaged and loyal your audience is that will make the biggest difference to your sustainability. None of these tools will last forever. One will eventually be usurped in popularity and the users will move on. The central idea behind all of them is the connections, the trust and the loyalty you are building and to bring that audience to the channel you do control–your own site.

Choose a social channel that you actually enjoy using, one that allows you to express your creativity on a daily basis, and where you can find like minded individuals to truly connect with. If that channel is still Facebook, then just be prepared to pay to participate.

 

 

 

 

 

March 26th, 2014

Posted In: Facebook, Social Network Marketing

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Trailer and short clip video editing is a much needed service in the independent film world, especially by lower budget filmmakers who can’t go to the bigger digital agencies and spend tens of thousands to get a trailer cut. Too often, lower budget filmmakers try to edit trailers themselves, but are too close to the material to understand that a trailer is a sales tool, not a visual synopsis.

In addition, the internet space is becoming dominated by visual material, photos and video clips. It isn’t enough to have just one trailer, multiple video pieces are now needed to enable social sharing, video channel subscription growth and capture and maintain an audience’s attention over a long period of time in the lead up to release.

While searching online for video editors that specialize in short clips and trailers, I came across a new site called Videopixie, a community of video freelancers offering post-production services at fair prices. I immediately contacted the site’s cofounder and COO, Thomas Escourrou, to find out more about how Videopixie might be the solution for independent film marketers who are long on footage, and short on money and skills to create compelling marketing videos.

How long has Video Pixie been around?

TE: “We launched in June 2013. My cofounder and I have been in the video space for a while, but the site is less than a year old. We are growing quickly with a 700 member community of video freelancers:  from editors, motion designers, animators, FX specialists, to videographers and writers.”

Video material is quickly taking over the internet space. Over 100 hours of video are uploaded just to Youtube every minute and over 6 billion hours of video are watched every month. There is a lot of competition for attention so a video really has to be compelling.  Is Videopixie trying to help companies, non profits and artists who don’t have the skills and expertise to create their own videos do that in an affordable and collaborative way?

TE: “Definitely! Videos are everywhere now. With mobile access and higher bandwidths, video is becoming the medium of the web.  Companies make videos to announce new products.  Inventors and creators make videos to crowdfund their projects. Experts make videos to teach the world. App  developers and filmmakers make trailers to sell more of their apps and films. As video distribution gets easier, the stakes are shifting to video production. How to create quality video content, frequently and affordably? When there was little distribution for a short video, it was an undertaking to invest in making a video and getting it into the world. Now that video can be put out online in a global way by anyone, it is a much more worthwhile investment.”

Video is also a great medium to put a face on a company or artist or non profit. You can demonstrate what they do, bring it to life, and make an emotional connection to an entity.

TE: “Right, basically show the soul of the venture. It isn’t easy to communicate soul through text and ad copy on the web. Video is more like real life. It hits a lot of the senses; sight, hearing, and the ability to have conversations around it. The web is becoming warmer and more human through the use of video.”

There is a nonprofit video clip I saw on your site showing what they do in Africa. It was awareness building for the organization and a fundraising initiative I guess.

TE: “Yes, the Impact Network is a non-profit improving the quality of education in rural Africa through digital tools.  They needed a video for their annual fundraiser, to connect with potential donors.   Their staff on the ground in Zambia shot some every day footage and interviews with their iPhones. They uploaded the footage to Videopixie and had it edited for about ~$250.  The editor arranged the footage to tell a compelling story, and added some simple motion graphics.

It proves that you can get solid videos without spending a fortune.  Of course, higher production value projects aren’t going away!  The video production market is as vibrant as ever.  But with marketplaces like Videopixie, it’s now possible to find great options for a wide range of budgets.

Often times, our users ask for help with their script and storyboard in the pre-production phase and we connect them with writers and directors.  Buying 1 hour of a writer’s time to jazz-up a script is well worth it.

Kickstarter videos require planning and we have freelance directors/writers on the platform who help with pre-production.  Kickstarter videos also benefit from polished post-production. Here is one of our blogs with tips to make great crowdfundng videos.”

How does one get started with Video Pixie for a project?  What would I need to upload? How does the system work in getting an editor interested?

TE: “To get started, just answer a few questions about your video, upload any existing footage, and post the project to the community. Freelancers engage, suggesting ideas and styles.  Some create teasers from the uploaded assets, others link to relevant videos they’ve made.

You receive the first bids within a few hours and hire the freelancer you like best.  Then project delivery starts using collaboration tools (real time chat, easy file transfer, reviewing tools etc). Payment happens at the end when everyone is satisfied.”

 

Videopixie editors

Choose from a community of editors

 

Right, I saw there is a money back guarantee so there is protection on both sides. The editor knows the money is there so they won’t get stiffed for work. And the buyer is protected in that their money isn’t paid until they sign off on the final cut. 

TE: “We play an insurance role for both parties, which brings peace of mind to the users and the freelancers. Users know they’ll only pay when satisfied. And freelancers know they’ll get paid for their work.

We chime in when necessary to make sure projects are budgeted properly, and that quality standards are met.”

If I am an editor looking for extra work, how do I get started with Video Pixie? 

TE: “Signing up is easy, there is a link at the bottom of the home page.  We require reels and a list of skill sets.  Within minutes you can browse available projects and you’ll start receiving email notifications when new projects are posted.

You can ask questions directly to the clients from the real-time chat. You submit bids for projects you are interested in. If you have relevant reels then great – just attach those to your bid – or you have the option to create a teaser (using the project’s footage which we make available in SD for faster download in the bidding phase).”

When you say bid, do you mean you offer to do a project for a certain amount of money? Is it by the hour, by the project?

TE: “It is by the project, not an hourly rate. Editors have access to the database of projects that includes a brief, the asset list, and the budget range. They can quickly scan through and see what is involved in the project and how many others are also interested in bidding. If a lot of people are bidding, it might not be attractive to submit something. “

What is the typical turn around time on an edited piece? 

TE: “It depends on the scope of what needs to be done. It could be just a few hours for very simple, scripted clips. Many of our users make videos every week, so they know exactly what to submit and what they want. For projects that need more creativity and back and forth, it could be one to two weeks.”

In uploading assets, how long can the footage be? A trailer for a feature film would involve uploading a 90 minute film.

TE: “There is no size limit. Uploading 200 GB of footage is no problem on a fast connection. We built an HTML5 resumable uploader called Evaporate JS. It works straight from the browser, no plugin.  It’s free, and takes full advantage of your connection speed.

Uploading is the recommended workflow for most projects.  Shipping hard-drives is also an option, and it is sometimes needed.  For example, if the director wants the trailer cut from TeraBytes of uncompressed footage (eg. DPX , open EXR).  In that case we still recommend to upload at least some footage so that interested editors can make teasers for you in the bidding period.

With the easy upload, you get a notification that it went through. We also have a notification system that alerts you when input is requested from either party. There is also a real time chat feature that gives a better sense of what it would be like to be in the editing suite with the person working on the project. We are also working on in-timeline commenting, so instead of making note of the timestamp to make comments on a certain aspect of the edit (make a hard cut or transition here, or insert a different image, or whatever), you can leave a comment within the timeline edit and the editor can bring those comments right into their editing suite, instead of searching through email or message communication.  This is our next improvement.

It may be that you don’t upload the full hi res footage. Maybe you want to do proxy edits where you upload SD footage and editor works off of that to get the final cut. Then you would take that trailer file into your own editing system and render the high definition trailer on your own system. This is a process for a more advanced person who just needs help formulating a good edit.”

Besides non profit videos, weddings, music videos, what other kinds of videos have been made through Videopixie?

TE: “Hundreds of videos have been made on Videopixie since launch:  Kickstarter videos, animated explainers for start-ups, Udemy course videos, game trailers, movie trailers, sizzle reels for TV shows. Here is a link to recent examples:  www.videopixie.com/happy-new-year

Some projects are straight forward, others involve tons of footage, creative scripts, motion graphics, FX, color grading, animations.

We also have started doing a lot of work with Youtubers. We created a partnership with a multi channel network (MCN) called Fullscreen. Videopixie serves as a post production house for their network of Youtube channels  to get shows edited and make motion graphic logos or intro or bumper pieces to make the videos unique.”

This would be great for independent filmmakers who want to make audience testimonials as people come out of a screening or on set video for crowdfund backers. There are all kinds of things a production shoots, but never finds time to edit. 

TE: “Yes, the goal is to make video production easier and possible for a wide range of budgets.  So people can create quality video content frequently with economics that make sense.

Audience testimonials are a no brainer, they are very compelling and cost very little to make. Just film, upload the footage, and get a finished video back for under $150 a day later to post on your FB page.”

Also, films need more video content than just a trailer. In the months leading up to release, many short clips need to be created and released at regular intervals to keep an audience’s attention and enable them to share these videos on their own channels. Every filmmaker and distributor wants buzz for their films, but they need to enable people to share material with their friends and widen that buzz. 

TE: “We also see this trend in the video game industry. It used to be about one big trailer for the game, but now the most successful games are creating new videos every month in lead up to release and well after. It is important to find a workflow for creating this content that doesn’t become burdensome.”

Videos can be used to bring critical moments in the production of a film to life for its audience, in near real time. Why only shoot on set for the special features when you could share a critical moment on the set from this morning or this week?  This is a great way to keep backers of a crowdfunding campaign up to date on how their donation is working to create a project. Having an on demand editing service that is affordable and quick keeps the production from having a backlog of shot footage that no one is in charge of editing.

Videopixie takes a 10% fee for facilitating the editing project.  If you plan to have a regular schedule of videos that need to be edited, many of the editors will offer a bulk discount for repeat customers.

As already stated, there is a money back guarantee for your satisfaction. If you are unhappy with the work of the editor you chose, Videopixie either will pay to have another editor re edit your piece or release your money from escrow and return it to you.

There is a full FAQ section on the site as well as some sample work. Before you sit down at the editing console and struggle for the right cut, consider spending a little bit to get a professional’s time and experience instead. In fact Videopixie is giving $100 credits to the first 20 readers who start a project. Make the perfect trailer or compelling short video clips for your film with the community on Videopixie.

 

March 20th, 2014

Posted In: Trailers, Uncategorized

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You may remember that I profiled a new digital distributor last year called Devolver Digital who was adding independent films to their existing line up of video games. Yesterday, Devolver announced a new initiative with the folks at Humble Bundle and VHX to release the “Devolver Digital Double Debut” Bundle, a package that includes five games both classic and new and the new documentary Good Game profiling the professional gaming lives of the world-renown Evil Geniuses clan as well as other films on the VHX platform. Proceeds from the bundle benefit the Brandon Boyer Cancer Treatment Relief Fund as well as The Film Collaborative.

You may remember, we are a registered 501c3 non profit dedicated to helping creators preserve their rights in order to be the main beneficiary of their work. We plan to use our portion of the proceeds to fund the new edition of our book Selling Your Film Without Selling Your Soul which will be given away totally free upon its publication. If you’ve ever benefited from our advice, our speaking or our written posts, now is the opportunity to give us support in expanding even more of your knowledge as well as help Brandon Boyer, chairman of the Independent Games Festival (IGF), to help with his astronomical medical bills for cancer treatment.

Devolver Digital Double Debut bundle titles

You can find the Bundle here https://www.humblebundle.com/devolver  It is available only until March 16, 2014.

It is just this kind of out of the box thinking we love and we couldn’t wait to be involved.

As a follow up to last year’s piece, I asked Devolver Digital founder, Mike Wilson, to fill me in on how the company has ramped up and what this initiative means to gamers, to filmmakers and to the non profits involved.

In the year since Devolver Digital started, how has your games audience transitioned into an audience for the films you handle?

 MW: “When we announced the start the Films branch of Devolver Digital last SXSW, we did so for a few reasons.  The first was seeing an opening to create a more publishing-like digital distributor for micro-indies.  Curation, promotion, transparency, versus what we perceived as the status quo in the VOD distribution space where films were uploaded in bulk and they hope for the best.

One of the biggest reasons, though, was the knowledge that the biggest games platforms that we do 95% of our (very healthy) digital distribution business with on the games side were going to be moving to start delivering films this year.  Those platforms are still not very active in the film space, aside from Games/Movies bundle with Humble Bundle that just kicked off.  But they are coming, so we’ll know more about how much we are able to turn the indie game-loving audience onto indie films from the fest circuit a little later this year.  Our hopes remain high, as these are people who consume an inordinate amount of digital media, are very comfortable with digital distribution and watching films on their computers, and they have a community around independent content from small teams around the world like nothing we’ve seen on the film side.  It’s more akin to music fans, turning friends on to great bands they’ve never heard of, and gaining their own cred for unearthing these gems.  THIS is what we hope to finally bring to the independent film space, along with these much more sophisticated platforms in terms of merchandising digital content.”

Devolver Digital Double Debut Bundle

Where are you seeing the greatest revenues from? Cable VOD, online digital, theatrical? Even if one is a considered a loss leader, such as theatrical typically, does it make sense to keep that window?

MW: “We just started releasing films on cable VOD in the Fall, and most of that content didn’t hit digital until recently, so the jury is still a bit out.  We are now able to do day-and-date releasing on all platforms as well.  We have done limited theatrical, purely as a PR spend on a couple of our strongest releases, and that has been very successful in terms of getting press the films never would have gotten otherwise, but of course it does cost some money and it’s just an investment in the VOD future of the films. There is still no hope of breaking even on a theatrical run for indies as far as we can tell… but at least the cost to entry has gone down and will hopefully continue to do so.  For now, we still expect cable and iTunes to be our best performers, until the games platforms start delivering.”

What lead to this recent initiative through Humble Bundle and VHX? Have you partnered with them before? 

MW: “Humble Bundle has been a miraculous success on the indie games side.  We do bundles with them as often as possible.  The key was getting them and VHX to work together, as we needed a high-quality, low-cost streaming solution to deliver what we expect to be hundreds of thousands of ‘keys’ purchased in these bundles.

VHX is pretty forward thinking on this front, again watching the games platforms carefully, and has come up with an elegant solution that works. We have been asking Humble to let us do a movies bundle for at least six months now, since we’ve had such success with them on the games side.  They decided that this games+movies bundle would make for a stronger segue.  They have delivered other types of media before such as music, soundtracks, audio books, and comedy records, none of which has had anywhere near the attach rate of their games bundles, but are still quite successful when compared to other digital options for those businesses.  We expect films to do better than any of these other ancillary avenues they’ve tried.”

What is the split for all involved? There are several entities sharing in this Pay What You Want scenario, so is this mainly to bring awareness and publicity for all involved or is revenue typically significant?

MW: “In this particular bundle, since all the games and films are roughly $10 values, we’ve split it equally.  So you have 10 artists splitting what will probably average out at $5 or $6 bucks a ‘bundle.’  But the volume will be so high, we still expect each of these filmmakers to make more money in these 10 days than they will likely make on their entire iTunes run.

And, TONS of new people watching their movies who would never have found it otherwise, which as a filmmaker, I know counts for as much as the money.  I’d personally much rather have my film (and one of the films in the bundle is the last one I produced) in a bundle like this than shoveled onto subscription based VOD, and I know it’ll make more money and get more views.” [editor’s note: Those purchasing the bundle get to choose how the contribution is split between Devolver, Humble Bundle and the charitable contributions.]

Why did you decide to include a donation aspect to the Bundle? Is that an incentive to pay a higher price for the bundle?

MW: “Humble is committed to supporting charities with their platform.  It’s part of the magic (other than the tremendous value) that makes their 4 million + regular customers feel really good about taking their chances on games (and other media) they’ve never heard of.

From Devolver’s standpoint, our last weekly games bundle on Humble resulted in nearly $150k for charity in addition to our developers all making a nice payday.  It’s a miracle of a win-win-win.  In this case, hopefully a lot of filmmakers will feel compelled to try this method out since it’s new, an incredible value, and will support TFC, who have helped so many filmmakers learn to navigate these murky waters.  And there’s a very local, very specific cause on the games side, helping a champion of Indie Games like Brandon Boyer overcome his devastating personal situation of fighting cancer while battling mounting medical bills. It just feels good, and this is a big reason Devolver is such a fan of Humble Bundle.”

We can’t think of a better situation than contributing money to receive fantastic games and films while helping those who enable the creators to reach new audiences, keep rights control of their work and celebrate their creativity. Check out the Devolver Digital Double Debut on the Humble Bundle site. We thank Devolver, Humble Bundle and VHX for allowing us to partner with them on this initiative.

 

 

 

 

 

March 7th, 2014

Posted In: Digital Distribution, Distribution

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