Bomb It 2 on Babelgum To Watch List for Fast Company Magazine
Babelgum Actually — gasps — Pays for Users to Create Videos
By PATRICK J. SAUER
So far as I know, Babelgum is the only company paying Web-video creators money up front,” says chief revenue officer Douglas Dicconson. And not for low-brow stuff, but ambitious professional works such as British documentarian Daniel Edelstyn’s Vodka Empire, the unlikely 25-part saga of his discovery that he’s heir to a Ukrainian vodka factory, and his attempt to bring Zorokovich 1917 to the modern spirits world. [...]
Dicconson says that he closed more revenue in the first quarter of 2010 than in the past three years combined. And momentum continued this past spring as Babelgum’s traffic spiked to 5.7 million visitors a month, when Vamped Out and Vodka Empire first aired. Na zdorovye!
3 to Watch
Dirty Oil
Babelgum’s first fully financed feature film, helmed by Academy Award-nominee Leslie Iwerks, will get its U.S. debut as an episodic series. Dirty Oil examines the economic and ecological impact of the oil sands in Alberta.
Vamped Out
When we last saw our vampiric out-of-work-actor hero Alowisus Hewson (Jason Antoon) in season one, he was sucking a young Hollywood starlet’s blood while formerly skeptical documentary filmmaker Elliot Finke (series writer and director Kevin Pollak) wigged out. Will the 172-year-old thespian find work in a Twilight world?
Bomb It 2
Babelgum produced the original street art/graffiti documentary, and the sequel will profile artists from locations such as Singapore (third offense is a caning!) and the Middle East. “In Israel, there’s a blossoming street-art culture with percolations of ideas,” says director Jon Reiss, “but in the Palestinian refugee camps, everything is political.”
Read more here or on the September issue of Fast Company magazine.
Screen Hub’s Lyn Norfor on Jon Reiss and Thinking Outside of the Box Office!
Jon Reiss: Thinking Outside the Box Office
by: Lyn Norfor
Screen Hub
Thursday 15 July, 2010
Jon Reiss, independent filmmaker and proselyte, wrote Thinking Outside the Box Office, and is running a series of events around Australia, including MIFF. Lyn Norfor was reminded of the 50% rule – “50% of the time and resources to make the film and 50% to connect the film to your audience..”
In 2007, Jon Reiss screened his documentary, Bomb It, about the global explosion of graffiti art and culture, at the prestigious Tribeca Film Festival. He did all the right things and, with five sold-out screenings and people lined up round the block for each screening, he expected a good distribution deal plus sales. But – nothing, no deals. A week later, Bomb It was available for sale on Canal Street – as a bootleg.
This is a story that Reiss relates regularly – in his book and his workshops, as an example of how radically the film distribution market has changed and how essential it is now for filmmakers to rethink the way their films are marketed and distributed. Reiss is a big fan of Do It Yourself (DIY) as a philosophy and attitude for marketing and distributing your film and which, he says, does not mean doing it all on your own. Rather, it means not leaving the distribution of your film to others and to build a team to reach as wide an audience as possible for your film.
Reiss is a working filmmaker who walks his talk. After his experience at Tribeca, Reiss went about distributing Bomb It through a hybrid distribution model, a term coined by distribution strategist and SPAA fringe regular, Peter Broderick. Reiss organised his own theatrical release and did a no-advance deal with New Video who handled the DVD release and download-to-own digital rights.
Based on his experiences, Reiss then wrote his book “Think Outside the Box – The Ultimate Guide to Film Distribution and Marketing for the Digital Age” which he self published. He has also built a website, created a two-day workshop and is planning updates for his book. In addition, he is currently filming material, as he travels round the world delivering his workshops, for a Bomb It web series – two to three minute webisodes, for which he received an advance against an ad revenue share from Bablegum (a free-to-view internet television platform supported by advertising).
An important step for filmmakers, according to Reiss, is to know what you want from your film and who the audience is for your film. Once you know that, you can then begin designing a marketing and distribution plan specifically for your film. And ideally, before you begin making your film – or at least during production. Now, some filmmakers may shudder at this but, Reiss says, they need to remember the 50/50 rule – 50% of the time and resources to make the film and 50% to connect the film to your audience.
Reiss is also very quick to point out that, although the filmmaker needs to understand the whole process, they also need to work with other people who have skills in those areas the filmmaker does not.
He has created a new film position, the Producer of Marketing and Distribution (PMD) and Reiss reckons it is a huge growth area in our industry. With less funds available and less films being picked up by traditional broadcasters and distributors, more filmmakers are left to their own devices to distribute their films. So build your team, find people with the marketing and distribution skills and bring them into the film industry to work with you. Reiss’ enthusiasm and excitement at the opportunities being created as old structures and ways of doing things break down is tempered by the realities of being a working creative entrepreneur – which he says all artists need to be.
Karen Pearlman (Head of Screen Studies, AFTRS) first heard of his workshops last year and encouraged AFTRS to bring Reiss out to Australia. So this July AFTRS and Screen Australia, in conjunction with MIFF 37 Degrees South in Melbourne, present the workshop Think Outside the Box Office.
Reiss has designed the two-day workshops to be practical as well as providing a place for filmmakers to share and discuss their projects. The first day is about content and information, using Reiss’ own films plus those of the participants as illustrations and discussion points.
The second day is focussed on selecting a number of participant projects for which market and distribution strategies are created. Reiss asks three key questions of each project – what is the goal of the film and the filmmakers? Who is their audience? What are their resources? The question that typically takes the most time to figure out is the audience question. Opening this question up to the group can be extremely helpful to the filmmakers, Reiss reports, and one of the favourite parts of the workshop for many participants. Reiss believes the workshops can appeal to a wide range of people –to anyone who is interested in marketing and distribution but may not necessarily want to make films.
Audience development is the new buzz word and one that will be music to the ears of our funding agencies. Reiss emphasises the importance of beginning to develop an audience for your film before the film is broadcast or screened. In the US independent distribution market, Reiss says, broadcasters and distribution entities are looking for partnerships with filmmakers who are interested in sharing the work of audience development. The marketplace is changing and so are release strategies. Reiss cites as examples the shorter windows between theatrical and DVD release for films such as Avatar and Alice in Wonderland and how that helps influence independent distributors.
Reiss is very strong on split rights, where the rights to each of the various revenue streams (theatrical, DVD, VOD etc) are split apart so they can be sold individually. A split rights scenario is at the heart of a hybrid strategy to release your film and, in general Reiss claims, the filmmaker can make more money than with an overall deal (where a distributor buys all the rights for your film for a long time).
He divides rights into three groups: (i) live event/theatrical – and includes all types of theatrical, non-theatrical, alternative theatrical and grassroots screenings; (ii) consumer products/merchandise – a tactile product such as DVD (individual DVDs, boxed sets, signed sets, special editions etc), educational sales, t-shirts, CDs, books etc; (iii) digital – television and cable (including FTA and subscription TV), Pay-per-view/Video on demand; (iv) digital rights and mobile – internet channels such as download to own, download to rent and various forms of streaming. Reiss’s book, “Think Outside the Box Office”, provides loads of information on this subject.
Again, Reiss reiterates that the distribution market is changing rapidly and many independent distributors are being forced by necessity to become more flexible.
Reiss finds this a ‘super exciting time’ and says it should inspire us to think about film more expansively, with longer storytelling structures – all of which helps create a long term career in film. When filmmakers have control over their distribution contracts, over a longer period of time and across multiple outlets, then a career arc can be developed with more predictable income streams and a ‘sustainable business’ built. With filmmakers holding onto more rights, there are also more opportunities to develop cross media extensions from the film. Knowing your audience is the key to deciding which products and packages to create for your film. Reiss tells how he is currently developing an iPhone app for street and graffiti art.
Although Reiss recognises that the amount of work is increasing as the money decreases, he says this is true not just for filmmakers but for all artists and content creators. His next version of “Think Outside the Box Office” is targeted at musicians, visual artists and all media content creators. He encourages us all to embrace the new opportunities and be inspired to re-conceptualise ourselves as filmmakers!
Reiss’ workshop dates:
Sydney: Sat 24 – Sun 25 July AFTRS Melbourne : Monday 26 – Tuesday 27 July AFTRS
Lyn Norfor
Lyn Norfor is a producer with factual and drama television projects in development.
MAKING SENSE OF DISTRIBUTION PANELS – POST LAFF’s SEIZE THE POWER SYMPOSIUM
The Film Collaborative was recently on a panel at the Los Angeles Film Festival as part of their SEIZE THE POWER SYMPOSIUM which focused on DIY & DIGITAL Distribution. This was the description of the panel we were on and that I moderated and will discuss below:
NEW DIGITAL DISTRIBUTION INITIATIVES
Leading digital distribution executives present new solutions for distribution
as they explain their business models and the opportunities they offer
filmmakers to reach audiences and bring in revenue for their films.
Erick Opeka, New Video
Nolan Gallagher, Gravitas Ventures
Orly Ravid, The Film Collaborative (TFC)
Scilla Andreen, IndieFlix
After the panel was over someone asked how he could decide which one of us to work with; he liked us all. It was clear to me that even though we had just finished an hour long panel at which we each presented our respective companies and then answered questions, it was not enough to make clear to everyone the way in which to relate to each company and how to make decisions about whom to work with in distribution.
Recently on Ted Hope’s blog
Jon Reiss and Ted Hope and many others including filmmakers discussed the relevance of panels and expert books and even more recently Jon Reiss wrote a blog titled “Coping with Symposium Workshop Brain Fry”. That is what I want to address here, specifically in relation to the panel I moderated and was on called “New Digital Initiatives”.
At the LAFF Panel all the companies discussed what they do and here’s some of that information below, and what we recommend a filmmaker do to make sense of information given at a panel.
Gravitas Ventures talked about its focus on Cable VOD and the fact that it works with Warner Brothers (WB) which (when WB takes a film) can lead to a film being available in up to as many as 50,000,000 homes via about 30 – 40 cable operators and up to 80,000,000 – 90,000,000 homes when one factors in digital. When WB does not take the film on Gravitas can at least get the film out to about up to 12,000,000 – 15,000,000 Cable VOD homes. Of course one in this circumstance has to realize that when WB is in the picture, there are two fees being taken as well as two companies being relied on to provide information and to pay. The other aspects to analyze are 1. the benefits of having a studio involved in VOD and Digital often leads to HIGHER revenues from Cable MSOs (Multi System Operators) and digital platforms and also MARKETING LEVERAGE. But, 2. the Studios are also glutted and not necessarily focusing on your film and you may get lost or inadvertently shafted (and I know it’s happened) so one has to have contractual commitments or protective clauses, and 3. They won’t let you keep digital rights usually, though maybe Netflix SVOD; and 4. accounting can be soft on the details. Gravitas does 2-year deals and about 350 -400 films per year and is the largest VOD aggregator at this time. Gravitas noted revenues per film ranging from as low as $5,000 – $250,000. A FILMMAKER must ADDRESS MARKETING and COSTS RECOUPMENT whether in dealing with Gravitas or any other Cable VOD & Digital Aggregator (e.g. TFC also works with Brainstorm Media & Fluent / Lions Gate), or any of the other studios who are or will be opening up to “independent product”.
The Film Collaborative’s entire purpose is to help sift through the information available at the time your film is ready or will be ready for release and help you resolve your COMPLETE DISTRIBUTION STRATEGY. Gravitas Ventures can get you the VOD and digital access you need but they don’t necessarily do much in the way of marketing so that will be more up to you to either have them commit to that effort or do it yourself (and perhaps in collaboration with us and our marketing partners). A marketing plus (+) though for Gravitas is that if WB gets behind your film, they can get iTunes and the Cable Operators to give your film a bigger marketing push. This can be very valuable.
Continue Reading The Article Use the Following URL: http://www.thefilmcollaborative.org/blog/?p=76
Seize the Power Why You Should Pay Attention to the LAFF Symposium this Weekend
Two weeks ago I wrote a guest post on Truly Free Film about the need to educate filmmakers on distribution and marketing their films. This weekend the Los Angeles Film Festival is hosting a truly wonderful event which I am proud to have developed in collaboration with LAFF and Film Independent (with strong push and support from Ted Hope): Seize the Power: A Marketing and (DIY)stribution Symposium.
The Symposium is designed to focus on the nuts and bolts solutions to the current distribution and marketing malaise plaguing our industry. The intention is to provide an introduction to a wealth of new tools for filmmakers (and all artists/media content creators) as well as strategic guidance from many of the key practitioners and thought leaders in our field. It is an antidote to the concerns of too much talk talk talk on this subject with little true education.
In addition there is a non-public component that you can participate in via twitter. I will be giving a distribution and marketing boot camp to the LAFF competition filmmakers Friday June 18th 9am – 12:30pm and 2:30pm – 5pm and Saturday June 19th from 9am-11:30am. All times PST. We will be tweeting bullet points on #totbo We have done this in the workshops I have given in the past month – and we have found that people around the world start to participate and chime in – creating a global discussion around these topics.
The Symposium: Starting Saturday afternoon at 1pm – Ted kicks it off with a presentation on the need for the artist entrepreneur to encourage filmmakers to think expansively about their creative output in order to create sustainable careers. This is followed by a plethora of service providers (from Orly Ravid of the Film Collaborative to Yancy Strickler of Kickstarter to Bob Moczydlowsky of Topspin) that we brought together so that filmmakers could learn the best ways to put these tools into practice in their own careers.
Sunday morning will kick off with a discussion between myself and Corey McAbee (The American Astronaut and Stingray Sam). We will explore how he uses the new distribution and marketing tools and landscape to create a viable artistic career for himself. Caitlin Boyle from Film Sprout will give one of her incredible introductions to grassroots audience development and distribution. I am super excited to see Lance Weiler and Henry Jenkins on Transmedia. (somehow Lance always has a way of frying my brain – in a good way). The inimitable Peter Broderick will lead a discussion on crowdfunding, Colleen Nystedt and Sean Percival will present different tactics for audience engagement. The event will cap with one of those incredible Film Independent public case study examinations of two films: Children of Invention and Bass Ackwards.
Last but not least – it will give filmmakers an opportunity to connect with each other and the presenters. Come on down and introduce yourself, learn and contribute. I hope to see you there (ps I won’t be there Saturday afternoon due to my daughter’s dance recital :) – but Ted will be in the house and many others!)
Jon Reiss TOTBO Tip of the Day 35 – A Meta Stream of Tips
Today’s tip will be a meta tip. If you go to Twitter and search #totbo you will see the stream of tips, ideas, comments, suggestions etc from everyone who was engaged in the Totbo NY Workshop in the room in NYC or who virtually participated in distant lands! Kudos to all the participants at the NYC Totbo Workshop this weekend who sent out hundreds of tweets about what was being covered in the workshop. And special kudos to @khanb1 who compiled all the posts into a tumblr post – click here for the link.
So the NY workshop was great – we had over 70 people in the room – with special guests Sheri Candler, Caitlin Boyle and Lance Weiler. Next stop Vancouver, the Los Angeles Film Festival Symposium, followed by a four city tour of Australia in July and then San Francisco on July 31/August 1st. Check out the Totbo site for information.
Truly Free Film Feed- A Nice Paragraph Capturing Reality Of Today September 2, 2010I recently had the pleasure of coming across this fine bit of reading, and I thought it summed up our current state of the film biz quite well. And heck, it may even protect you from some liabilities down the road… The Parties hereby acknowledge that there is presently no executed agreement with any distributor to distribute the Picture. The[…] […]tedhope
- A Nice Paragraph Capturing Reality Of Today September 2, 2010
- TOTBO Tip of the Day
- Tip of the Week: How to Cope With Symposium Brain FryI heard a number of comments after this weekend’s LAFF Seize the Power Symposium that people where overwhelmed – that their brain’s had been fried by so many ideas and so much information. To me that’s a sign that we succeeded. When Film Independent and the Los ... […]
- Tip of the Week: How to Cope With Symposium Brain Fry
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