By Sheri Candler
In the continuation of our look at recent cross platform/transmedia projects, this case study will be particularly relevant to those working with low budgets and ambitious plans. Writer/director Jay Ferguson’s initial inspiration for Guidestones came from his late father’s fascination with serialized shorts. Growing up in the thirties and forties, Ferguson’s father went to the cinema and was ‘hooked’ on serialized shorts where bad guys tie distressed maidens to the train tracks and such. Ferguson thought that the internet would be an ideal place to try to recreate that experience for this century.
Again, thanks to Storycode.org for providing the video presentation (found at the bottom of this post) from which these notes were culled.
Jay Ferguson, writer/director, 3 o’clock TV
Two journalism students, investigating an unsolved murder, uncover a global conspiracy centered around the mystery of The Georgia GUIDESTONES, an enigmatic monument nestled in a farmer’s field in rural Georgia and inscribed with directions for rebuilding civilization after the apocalypse. The story is based on a real monument and on the real account of a Toronto woman’s experiences.
GUIDESTONES uses elements of transmedia and ARG storytelling to take viewers on a thrilling chase that crosses two continents and three countries in search of the truth. The project uses a hybrid mix of traditional narrative and formal and non-formal documentary styles. Shot vérité style in Canada, the USA and India, the series moves seamlessly between the real world and the ﬁctional account of how a young woman named Sandy stumbled upon a murder mystery.
Three minute episodes, 50 in total so far, with audience participation elements.
Ferguson wanted to tell stories by professional storytellers that would guide the audience an online and offline experience. He observed that, though audiences wanted to participate in the story somehow, no one wants to pay for online content. Also, how to keep audiences coming back? Too many webseries start out with the first few episodes being ok then die with audience numbers. Ferguson and his team have endeavored to keep up a fast paced, engaging story that pushes the audience to continue the journey.
A mix of self funded, Canadian Independent Production Fund, some matching grants from the Ontario Media Development Council , sponsorship from Samsung, Carbon Clothing, Major League Baseball/Toronto Bluejays, Pizza Pizza (Canadian Domino’s). The online platforms (Hulu, Youtube) did not put in any money. The total budget is around $300,000 CAD. Estimate to reproduce at market value would be $1 million.
Product integration, merchandise/music/ringtones, rev share from Hulu. Recently launched on iTunes and considering a DVD to sell.
While there were certain demographics in mind, the production recognized that different audiences will want to interact with the series, so different ways to view the project were developed. In the Push version, one can sign up for the show and have the episodes delivered via e-mail to experience in ‘real time’ as the characters are exploring the mystery. The Linear version is for those who want to be more passive and treat it like a traditional serialized show.
Background of the team:
Jay Ferguson is an award-winning filmmaker who has contributed as a writer, director, producer and cinematographer to over 15 feature films. His work with institutions such as The National Film Board of Canada has garnered him several awards, including the top cinematography award at the Atlantic Film Festival (Animals, 2005) and from the Canadian Society of Cinematographers (Inside Time, 2008). He was nominated for a Gemini Award in 2005.
Jonas Diamond is the CEO of iThentic, joining the team in the fall of 2008. Jonas is producer of the award-winning animated series Odd Job Jack (52×30). The series received a Gemini, CFTPA Indie, Banff Rockie and Canada New Media Award for Best Cross Platform Project. Additional Accolades for Odd Job Jack include a nomination for Best Interactive Program (2006) and Best Animated Show (2005) at the Banff Rockie Awards, second prize for Best Interactive Design (2006) at Vidfest, Best Convergent Project by the Banff Institute as well as multiple Gemini and Canadian Comedy Award nominations. Jonasʼ producer credits includes Odd Job Jack, Hotbox and Bigfoot for The Comedy Network / CTV, Pillars of Freedom for TVO, Turbo Dogs for CBC / NBC, The Dating Guy, skatoony, Sons of Butcher and the upcoming Geofreakz MORPG for Teletoon, The World of Bruce McCall, and the interactive storyteller Legends of Me as well as many other projects for various platforms.
It took 3 years from conception to launch.
Thinking through each platform:
50 webisodes were shot and edited for use as video links, the main storyline.
50 different websites were needed to house the clues for each webisode.
Content was hidden online for viewers to research the clues given during the webisodes.
One of the really hard things was creating 50 story arcs. Each episode is on average 3 minutes long and it is difficult to find an interesting opening, build the story and then a climax to lead into the next episode in such a short space of time. For feature films, you may only have to do one or two of those, but 50 is a lot. The interactivity was very difficult to make happen…very time consuming.
The production used a very small crew and shot with a Canon 7d digital SLR in order to have flexibility and adaptability when on location. It allowed them to get into places that you regularly would not be allowed to shoot. In India, there were some places that do not regularly allow filming, but they were able to shoot some scenes in a few minutes and not bother anybody.
8 months in production, with 8-10 hour days
Location shooting: 3-4 weeks Toronto, 1 week in Georgia, 1 week in India
Post production meant bringing together all the elements of web and film. Before locking an episode, online properties needed to be created and sites linked to other sites so that the minute it was live, everything was in place for the viewer to experience.
Digital team included:
A graphic designer
1 person to buy and manage urls
people to develop online presences on Linkedin and MySpace
2 editors full time
2-3 editors part time
a media manager
Brad Sears who designed the Push system and email system.
They launched the “push” system in February 2012. The viewers sign up via email address on their website to follow the episodes. Links are emailed to them with the episodes. Emails are timed to coincide with the happenings of the characters (if something happens at 9am, the email is sent at 9am). It takes the viewer a month to experience the whole thing and it is evergreen which means anyone can start it whenever they like. There is no “starting” and “ending” period.
After launch, the team received a lot of feedback from viewers. High schoolers in particular were impressed that they could Google things they had seen in the show, and something was actually there online. Also found that high schoolers do NOT use email like adults do. They communicate more via Facebook. Production team then modified the “push” system to run on Facebook.
For older people, they complained of too much email (50 episodes plus supplemental info). Some complained not enough episodes being released fast enough. They modified their release pattern/experience. Now viewers can choose to experience via Facebook, email or in a linear version where they just watch the episodes on their own time instead of following along with the characters. The linear version is on Hulu and on iTunes.
Building the Audience
Ferguson concedes that not enough money has been spent on publicity. Largely marketing has been a mix of public speaking, interviews in publications on the process, word of mouth by the viewers with a tshirt promotion for those who bring in 5 viewers. Brand sponsors are doing some of the promotion, particularly Pizza Pizza who play a 30 second ad for Guidestones in each of their stores across Canada. They are hoping that being on Hulu will help garner a larger audience for the project due to its large amount of traffic. Both Pizza Pizza and Samsung have done prize promotions on their Facebook pages for the show.
-The clue finding is actually going very well. People really love it and get excited looking for the content. The first season really taught lessons in how to create on-line interactivity…now the team wants to take it further and have many ideas on how to get even more interactive.
-Through connections gain on other projects, the team was able to broker an agreement with Hulu to host the series and have an advertising revenue share.
-The series is now selling on iTunes in the TV show section. The whole season download is priced at $9.99 or one can buy them per episode for $1.99.
-The acting is critical to the storytelling and the believability of any story. Supinder Wraich (Sandy) and Dan Fox (Trevor) have a real honesty that is hard to find in actors. Both can act really well directly to camera because they are able to empathize with the characters and that brings this very genuine quality that audiences respond to, it is very hard to fake that emotion without the audience feeling it. Ferguson’s tip in casting is that when watching the actor closely, don’t worry too much about the words or the actor’s look necessarily, look into the eyes, see if there is a true belief in there. If they believe it, so will the audience.
-To the conventional viewer, the non-totally immersed viewer, the Push system adds up if they are not able to get to the emails often enough and that became frustrating for some people who didn’t realize there was a more linear way to watch.
-The team was surprised that the South Asian community has not taken to the series yet as the “Sandy” character is a great character for the South Asian community. The series still struggles to get any real traction there.
-Promoting the show for a bigger audience. Most of the limited funds had to go into production. This is the classic conundrum for lower budget productions…all your money goes into making the thing and none into promoting it.[editor’s note: A word to the wise, budget in significant money for a publicist (traditional and one geared toward reaching fans directly), online advertising, video seeding, promotions, Facebook promoted posts, etc].
– Post-production has been about a year long with four working on it full-time and six or seven people working on it part-time, unlike editing a 120 minutes of content which can be done in a few months. Every single step of the way requires so many elements – a ringtone, a song, a site to house that audio, a site to house a different type of clue that has to be searchable only in a certain manner… all these things are endless and each has to be built because there is no preexisting system.
-The only way they’ve been able to do this on a low budget is that the studio where they work [for day job projects] has audio people, graphic designers, visual effects artists, people who can build apps, all in-house. While they set out with a specific road map and 60 to 65% of that might have remained the same, about 40% has definitely had to change in post-production because they found certain approaches don’t work and when one things is changed, all the elements have to be adjusted since everything is built together. Everyone on the team understands that they’re trying to prove a point with this, build a new model, but it is really hard to do unless you have infrastructure behind you. At one point, Ferguson thought if grant money and sponsorship money didn’t come in, he would still try to do this on his own, but he now concedes this was a ridiculous notion! “It would have taken me 15 years to do and I wouldn’t even have the skills to do most of it.”
A huge thanks to Jay Ferguson for sharing his details for the benefit of all who are interested in these new forms of storytelling. Below, please find his presentation
Other sources used in this post:
Sheri Candler October 25th, 2012
Posted In: transmedia
Tags: 3 o'clock TV, ARG, Brad Sears, Canada, Canadian Independent Production Fund, Canon 7d, Carbon Clothing, case study, cross platform, Dan Fox, Georgia Guidestones, guidestones, Hulu, India, iThentic, iTunes, Jay Ferguson, Jonas Diamond, Major League Baseball, Ontario Media Development Council, Pizza Pizza, Samsung, Storycode, Supinder Wraich, Toronto Bluejays, transmedia, USA, YouTube
Recently I was invited to be on a panel at the International Film Festival Rotterdam (IFFR) and participate in their mentoring sessions and the lab at Cinemart. Great experience. I am always amazed by the difference between the US and Europe. The whole government funding of films and new media initiatives as our government is about to shut down. Well, their policies and practices do take their own financial toll too but one I think is worth it. For all my europhileness I have to note that the Europeans can be just as guilty of not wanting to watch subtitles in fact some countries dub films instead. And of course we know that Hollywood is big business in Europe too. But all in all, art house cinema seems to reach more broadly in Europe and even some parts of Asia than it does in the US. Films in Cannes and other top fests can sell all over Europe and never in the US or success in opening theatrically only in NY and maybe LA and overall it seems to me box office is generally down for foreign language cinema.
International filmmakers want US distribution and it was painful for me to discuss their prospects at IFFR because for so many, the prospects are slim. But this one’s for you! (Please note this blog is focused on digital distribution and not healthy categories for foreign language cinema such as Non Theatrical including Museums, Films Festival, Colleges, Educational / Institutional).
Cable VOD was 80% of the digital revenue in the US in 2009 but it’s now declining little by little, now estimated to be in the high 70’s (approx 77%) and may decline further still. The reason for this change, which is expected to continue, is that Internet based platforms are growing. Regarding FOREIGN LANGUAGE ON CABLE VOD: Distributors and aggregators agree that foreign language cinema is very hard to get onto Cable VOD platforms and slots for non-English cinema are reserved generally for marquee driven films and/or films with a real hook (name cast/director, highly acclaimed, genre hook). A big independent Cable VOD aggregator notes a real struggle in getting foreign language films to perform on Cable VOD and even Bollywood titles that had wide theatrical distribution and a box office of upwards of $1,000,000 still perform poorly (poorly means 4-figure revenue, 5-figure tops). They have had some success with foreign martial arts films and will continue with those in the foreseeable future. Time Warner Cable (TWC) remains more open to foreign language cinema though it plays the fewest films, a range between 190 – 246 at any given time (with a shelf life usually of 60 days and with 2/3rd of the content seeming to be bigger studio product, and the rest indie). By comparison Charter and AT&T play about 1,000 and Verizon plays 2,000, and Comcast plays about 4,000. [See below for the 2010 breakdown of Cable subscription numbers.] Hence, individual titles may perform better on Time Warner Cable for obvious reasons, Comcast may have more subscribers but there’s less competition and TWC is in New York, the best demographic for art house cinema.
Generally speaking, platforms overall are far more receptive to foreign films following the recent success of DRAGON TATTOO, TELL NO ONE, IP MAN, etc. than they have ever been before. However as one can see from the titles noted, foreign genre films are preferred because they have the opportunity to reach broader audiences than the usual foreign film. Genres that reportedly work include: sci-fi, thriller/crime, action, and sophisticated horror. Dramas have had limited success, and comedies often don’t translate, nor does most children’s content. In regard to Cable VOD – foreign box office is becoming an important proxy, because the marketing and pr tend to build US awareness on the larger titles prior to being available here. Many companies have built very successful VOD businesses pursuing a day and date theatrical or DVD strategy. Again, genre films work best, with horror and sci fi being the top performers. 3 of the top 10 non-studio titles in 2010 were foreign language subtitled releases. Small art house distributors say that at most it’s a small dependable revenue stream via services such as INDEMAND http://www.indemand.com (iN DEMAND’s owners are and it services Comcast iN DEMAND Holdings, Inc., Cox Communications Holdings, Inc., and Time Warner Entertainment – Advance/Newhouse Partnership.) Distributors and aggregators all site Time Warner as being far more open to foreign language cinema than Comcast, because it’s urban focused (NY, LA, etc) not heartland focused as Comcast is.
In terms of these titles finding their audiences on Cable VOD, Comcast announced improved search functionality by being able to search by title and Cable VOD is aware of its deficiencies and is said to be improving in terms of marketing to consumers but Cable VOD is still infamous for its lack of recommendation engines and discovery tools. Key aggregators work to have films profiled in several categories and not just the A-Z listing.
Top 25 Multichannel Video Programming Distributors as of Sept. 2010 – Source NCTA (National Cable Television Association)
|3||Dish Network Corporation||14,289,000|
|4||Time Warner Cable, Inc.||12,551,000|
|5||Cox Communications, Inc.1||4,968,000|
|6||Charter Communications, Inc.||4,653,000|
|7||Verizon Communications, Inc.||3,290,000|
|8||Cablevision Systems Corporation||3,043,000|
|10||Bright House Networks LLC1||2,194,000|
|12||Mediacom Communications Corporation||1,203,000|
|13||Insight Communications Company, Inc.||699,000|
|15||WideOpenWest Networks, LLC1||391,000|
|18||Atlantic Broadband Group, LLC||269,000|
|19||Armstrong Cable Services||245,000|
|21||Service Electric Cable TV Incorporated1||222,000|
|24||Blue Ridge Communications1||172,000|
FOREIGN LANGUAGE CINEMA VIA OTHER DIGITAL PLATFORMS and REVENUE MODELS:
DTO (Digital Download to Own (such as Apple’s iTunes which rents and sells films digitally) – this space has been challenging for foreign films in the past, and most services do not have dedicated merchandise sections. Thus, the only promo placement available is on genre pages, so the films need to have compelling art and trailer assets to compete. iTunes and Vudu (now owned by WALMART – see below) are really interested in upping the ante on foreign films over the next 12 months. Special consideration will need to be made for the quality of technical materials, as distributors have encountered numerous problems making subtitled content work on these providers.
SVOD (Subscription VOD such as NETFLIX’s WATCH INSTANTLY) – this space is probably the best source of revenue for foreign content because the audience demos skew more sophisticated and also end users are more inclined to experiment with new content niches. Content in this space should have great assets and superior international profile (awards, box office), and overall should evoke a “premium feel” for the right titles, license fees can be comparable to high end American indies. Appetite for foreign titles will increase as the price for domestic studio content continues to accelerate. Genres are a bit broader than VOD/DTO, but thrillers, sci fi and action still will command larger sums ($). Good Festival pedigree (especially Cannes, Berlin, Venice, Sundance, etc.) will also command higher prices. Overall, it’s a great opportunity as long as platforms keep doing exclusive deals. NETFLIX has surpassed 20,000,000 subscribers and a strong stock price and is in a very competitive space and mood again. (See more below). Hulu expects to soon reach 1,000,000 subscribers “to approach” half a billion in total revenues (advertising and subscription combined) in 2011, up from $263 million in 2010. That’s from $108 million in 2009. (see more below)
AVOD (Advertising Supported VOD – such as SNAG and HULU) – Another great space for foreign content (as evidenced by the recent exclusive HULU – Criterion deal – (see below) although that deal is actually for HULU’s subscription service (Hulu Plus). These platforms are more willing to experiment with genres and content types and favor art films and documentaries over genre films. Depending on the film, annual revenues can approach low to mid four (4) figures in rev share. SNAG recently was capitalized to the tune of $10,000,000 but seems to be spending that money on marketing and not on “acquiring” so a film’s revenue is likely to be dependent on performance and rev/share unless one strikes an exclusive deal with SNAG and manages to get an MG. HULU’s revenues are covered above. Films report low 4-figures but sometimes 5 and 6 figure revenues but up until now those higher performing films have been English language and appeal to younger males.
TELEVISION / BROADCAST SALES: For foreign language cinema unless one has an Oscar™ winner or nominee, or an output deal, the prospects of a meaningful license fee are slim. Even worse, if you do secure a deal, it will likely preclude participation in Cable VOD, Netflix and any of the ad-supported VOD platforms such as Hulu and Snag.
KEY SPECIFIC TOP SPECIFIC DIGITAL PLATFORMS / RETAILERS:
AMAZON reportedly is readying a service that would stream 5,000 movies and TV shows to members of its $79-per-year Prime free-shipping membership program. Amazon being corporately tied to extremely popular entertainment information service IMDB and the film festival submission service WITHOUTABOX gives it a potential edge in the market, one that has never been fully harvested but easily could be and seems to be looming. And since its inception, Amazon has let film content providers open up shop on their site directly without a middle-man. Middle man aggregators get slightly better terms. Amazon presently offers 75,000 films and television shows combined and plans to soon exceed 100,000. It should be noted Amazon VOD has been US-focused though recently bought Love Films in the UK.
FOCUS FEATURES’ NEW DIGITAL DISTRIBUTION INITIATIVE: There is not much information out on this yet but FOCUS/UNIVERSAL are launching a new digital distribution initiative that may or may not brand their own channel on iTunes etc., but does seem to be focused on niche cinema to some extent and this may speak to foreign language titles. An option to watch out for.
GOOGLE is working on encroaching into the content delivery market with its launch of GOOGLE TV, which unfortunately has not created quite the fanfare the company planned for. It boasts: The web is now a channel. With Google Chrome and Adobe Flash Player 10.1, Google TV lets you access everything on the web. Watch your favorite web videos, view photos, play games, check fantasy scores, chat with friends, and do everything else you’re accustomed to doing online. GOOGLE TV does come with the Netflix App and others. Google partnered with some of the leading premium content providers to bring thousands of movie and TV titles, on-demand, directly to your television. Amazon Video On Demand offers access to over 75,000 titles for rental or purchase, and Netflix will offer the ability to instantly watch unlimited movies and TV shows, anytime, streaming directly to the TV.
HULU: Hulu’s numbers keep growing for certain films, which has to-date not been foreign language but that may change given the Criterion Collection announcement. Hulu is also now a subscription service (HULU PLUS) and announced the Criterion deal is for that. Criterion of course specializes in classic movies from the canon of great directors–Ingmar Bergman, Jean-Luc Godard, Federico Fellini, etc.–and has about 800 titles digitized so far, many of which are also available via Hulu competitor Netflix. It’s understood that this will be an exclusive deal, and that the Criterion titles that Netflix does offer will expire this year. Hulu Plus subscribers will initially get access to 150 Criterion films, including “The 400 Blows,” “Rashomon” and “Breathless.” Hulu says the movies will run without ad interruptions, but may feature ads before the films start; the free Hulu.com service will offer a handful of Criterion titles, which will run with ads. Hulu, owned by Comcast’s NBC, Disney’s ABC and News. Corp.’s Fox introduced the Hulu Plus pay service last year. Hulu CEO Jason Kilar says the $7.99-per-month offering is on track to reach one million subscribers in 2011. Competing for exclusive content seems to be on the rise as platforms compete for household recognition and top market share.
iTunes (APPLE): iTunes dominated consumer spending for movies in 2010 but that may not last long. One can get onto iTunes via one of its chosen aggregators such as New Video, IODA, Tune Core, Quiver… Home Media Magazine reported the findings of an IHS Screen Digest report that showed that Apple was able to hold off challenges from competitors like Microsoft’s Zune Video (via XBOX Kinect), Sony PlayStation Store, Amazon VOD and Walmart’s VUDU. Despite the new competition, the electronic sellthrough and video on demand market rose more than 60% in 2010, Apple iTunes still came out on top, perhaps due in part to the release of the iPad last spring and Apple TV last fall. Research director of digital media for IHS, Arash Amel, said, “The iTunes online store showed remarkable competitive resilience last year in the U.S. EST/VOD movie business, staving off a growing field of tough challengers while keeping pace with a dramatic expansion for the overall market.” However, it’s important to note that although iTunes staved off competition, the overall iTunes consumer spending fell almost 10% in 2010 to 64.5%. It was 74.4% in 2009. Insiders predict it will not hold its market dominance for long.
Microsoft’s Zune Video was one of Apple’s biggest competitors last year, accounting for 9% of U.S. movie EST/iVOD consumer spending in 2010 but this does not seem a key platform for foreign language cinema.
MUBI: www.Mubi.com having added Sony Playstation to its platforms reach, MUBI now has reportedly 1,200,000 members worldwide and is finally in a better position to generate revenue. Still its own figures estimates amount to 4-figures of revenue and that’s for all its territories. Mubi’s partnership with SONY does not extend into the US.
NETFLIX as reported in Multichannel News “as its subscriber base has swelled, Netflix has become a target for critics complaining that it is disrupting the economics of TV” is now a competitor to Cable and in fact Cable VOD companies won’t take a film if it’s already on NETFLIX’s Watch Instantly service. But Netflix is realizing it erred by losing focus on the independent and is now quietly offering bigger sums that compete with Broadcast offers and that are on par with the 5 and 6 figure revenues generated by Cable VOD for the stronger indie / art house films. Having films exclusively may be the driving force of future monetization in digital, or least in SVOD. Regarding 2011 outlook, Netflix’s “business is so dynamic that we will be doing less calendar year guidance than in the past,” the execs said. For the first three months of the year, Netflix expects domestic subscribers to increase to between 21.9 million and 22.8 million, with revenue between $684 million and $704 million and operating income between $98 million and $116 million. Internationally — meaning, for now, Canada — the company expects 750,000 to 900,000 subscribers with revenue of $10 million to $13 million and an operating loss between $10 million and $14 million.
REDBOX: Redbox, whose brick-red DVD vending machines are scattered across the country, is aiming to have a Netflix-like video streaming subscription service up and running by the end of 2011, company executives told investors mid February. Redbox is a wholly owned subsidiary of Coinstar. The Oakbrook Terrace, Ill.-based company claims to have rented more than 1 billion DVDs to date through vending machines at about 24,900 U.S. locations nationwide, including select McDonald’s, Wal-Mart Stores and Walgreens locations. It should be noted though that Redbox is very studio title focused and wide release focused but its streaming service will likely move beyond that.
WAL-MART bought VUDU and is expected to be a major player. Walmart is the world’s largest retailer with $405 billion in sales for the fiscal year ending Jan. 31, 2010. In the U.S., Wal-Mart Stores, Inc. operates more than 4,300 facilities including Walmart supercenters, discount stores, Neighborhood Markets and Sam’s Club warehouses. VUDU, is Walmart’s recently acquired online media source where consumers can rent or buy movies and TV shows for their internet-ready HDTV, Blu-ray Disc players or PlayStation 3 consoles. Like iTunes, there are no monthly fees. Consumers can buy and rent movies when they want, and 2-night rentals are only $2. It will be interesting to see how VUDU will rise as a contender in 2011 and whether iTunes will suffer as a result of their success. Wal-Mart advertises that regarding VUDU: “from Internet-ready HDTVs to WiFi enabled Blu-ray players, you’ll find all the VUDU ready electronics you’re looking for at Walmart.com. Whether adding a flat panel TV to your dorm room or upgrading your home entertainment center, our selection of VUDU ready HDTVs has you covered. You’ll also save money on our VUDU ready products when you select items with free shipping to your home. With VUDU, you’ll be able to stream HD movies directly from the Internet to your TV in dynamic surround sound for a great low price. Shop VUDU ready HDTVs and Blu-ray players at Walmart.com — and save. “ And the retail giant makes sure all relevant devices / electronics it carries are VUDU-enabled. 2011 and beyond will be telling. Wal-Mart caters to the average American so it remains to be seen if there is an appetite for foreign language film via VUDU in the months and years to come. In its inception VUDU was catering to early adaptors of new technology and those eager to watch HD but now it seems to be becoming more generic. New Video is a preferred aggregator to VUDU, among others.
VODO (Free / monetized Torrent): www.VODO.net: This has not been tried in the US by most distributors if any and not for foreign language cinema but it has worked for several projects such as Pioneer One which generated $60,000 USD by having the content made available for free and then getting donations in return.
Other emerging retailers entering the digital space:
Sears and Kmart are the latest over-the-top threats to pay-TV providers’ video-on-demand businesses. Sears launched its online movie download service, Alphaline Entertainment, which will let Sears and Kmart customers rent or purchase movies, including on the same day they are released on DVD and Blu-ray Disc, provided through digital media services firm Sonic Solutions. Titles currently available to rent or buy from Alphaline include studio and successful TV shows. Under Sonic’s multiyear agreement with Sears, the companies will provide access to Alphaline services through multiple devices including Blu-ray Disc players, HDTVs, portable media players and mobile phones. Sears and Kmart, said in a statement. “We’ll continue to increase the reach and flexibility of the Alphaline Entertainment service by providing consumers on-demand access to the latest entertainment from a range of home and mobile electronics.” Sears, which merged with Kmart in 2005, is the fourth largest retailer in the U.S. The company has about 3,900 department stores and specialty retail stores in the U.S. and Canada. It remains to be seen if they take on foreign language cinema. New Video is also an aggregator to them.
That’s all she wrote folks. Until the next time.
Orly Ravid March 10th, 2011
Tags: Alphaline Entertainment, Amazon, Apple, AVOD, Cinemart, Comcast, Digital Distribution, DTO, film distribution, Focus Features, foreign language film, Google TV, Hulu, InDemand, International Film Festival Rotterdam, iTunes, Kmart, Microsoft Zune, Mubi, Netflix, New Video, PioneerOne, Redbox, Sears, SnagFilms, subtitles, SVOD, Time Warner, VOD, VODO, VUDU, Walmart
I recently posted on our Facebook page a note about the fact that one has to be mindful about when to initiate a NETFLIX VOD window. Sheri Candler asked to me blog about it. I do everything she says.
We have heard consistently from Cable VOD operators and aggregators and Broadcasters such as Showtime that the Netflix VOD window is considered a cannibalizer of revenue for Cable VOD and TV so know that before licensing rights and resolving windows. When it comes to Netflix they have gotten so successful that they are a more selective platform than Amazon. Amazon wants has recently passed the 80,000 titles mark and is racing to aggregate as many as possible. Netflix has over 100,000 titles on DVD and over 17,000 titles on its streaming service but is now getting more and more selective. Netflix SVOD rights are sold for a flat fee, at least for now. To get onto Netflix, first one has to get on their radar and into their system, and then get that demand up in their queue system to get a good fee offer. One has to then resolve everything else before risking inadvertently killing any chances of a Broadcast sale or Cable VOD distribution. However, depending on the film, you may make more money from Netflix than by selling to let’s say EPIX which will want your Netflix SVOD rights anyway. And you may make more money distributing directly then doing a small Broadcast deal or going with a distributor or aggregator that will take all your digital rights anyway. Though it should be noted most filmmakers cannot get to Netflix directly.
As with anything in film distribution, there is no one rule that applies to all films. This is a case-by-case business. Some films are big enough that one can stagger windows and monetize them all. Some films are better served by being available on all platforms at once or close to it. Some films lend themselves more to rental or ad-supported free-on-demand and others can really generate the transactional (pay per download) business.
The point of this little missive though is just to note the conflation of TV and the Internet is happening. Google TV is here and retailers, Television and device manufacturers, cable operators and telcos are all competing to aggregate and offer as much content as possible. Even print media companies are following suit wanting channels of content on their websites. And soon enough it will be less a discussion of rights and more a discussion of PAYMENT METHODS or MONETIZING METHODS and I think that will always depend on the film and its demographic targets. The options will always be: 1. Ad-Supported / Free on Demand, 2. Subscription 3. Pay Per View 4. Download to Rent, and / or 5. Download to Own. And now instead of focusing on packaged media the focus is is on whether one can play content back on as many devices as one wants and that aspect related to all the various payment methods options. The content providing industries are all racing to aggregate as much content as they can and for it to be playable across as many devices as possible and payment methods vary so far depending on service and distributor choices. Hulu (a platform backed by studios and that was once only ad-supported is now beta testing its Netflix imitation subscription model).
Brands will attract customers just like they always did when video stores were king and just like when you choose which cell phone provider to use or whom to get your Internet connection through, assuming you live in an area with choice.
The other day on a Digital Hollywood Conference panel, I learned a stat from Erik Opeka of New Video: iTunes has 130,000,000 credit cards on file. Some of you are thinking right now, “I’m in the wrong business”.
Orly Ravid October 21st, 2010
Unfortunately, a great number of key digital platforms must be accessed through the use of an aggregator. Of course there are always exceptions, but the general rule is that to get your films onto Cable VOD, iTunes, Netflix, Hulu, Sony Playstation and other device oriented options and retailer digital platforms , you will have to go through an aggregator or a distributor. We either directly or via partners offer both a commission or a flat fee option (range depends on platforms).
However, you can get onto Amazon directly. Also, you can access DIY oriented ones such as Mubi, Fans of Film and other platforms like them. To the best of our knowledge, more money is made on the key high trafficked platforms, if one can get on them.
Once again we remind you, MARKETING, MARKETING, MARKETING is key to your film’s success no matter what distribution outlet you use.
This concludes our series of tidbits for the time being. As always, if you have questions or need guidance to figure out your film’s distribution path, we would love to hear from you. No rights taken.
Orly Ravid August 27th, 2010
From a revenue-generating point of view, at present, those who deal in the space will tell you that iTunes is the #1 platform; Hulu is working well for some but not for all; and that Netflix’s “Watch Now” is starting to show promise but one’s film needs to be on DVD with them too and be somewhat in demand. Some platforms are subscription based, some are transactional, and some are ad-tagged revenue-based. And sometimes a hybrid of the two not is only a doable solution but actually an ideal one, especially for smaller special-interest films.
Much of this information can be found within our Digital Distribution Guide, available to our members. For this week, you can gain access to the full Guide by contributing $35 to our IndieGoGo campaign.
Orly Ravid July 1st, 2010