DocAviv - Roadmap to the Future of Docs
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Slides from my workshop at DocAviv with Hypermedia. A six hour, three part, workshop. Some new material here, but repeats some of my similar filmmaker workshops.
![Roadmap to the Future of Docs Session One: Inventing the Future of the Documentary Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
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DocAviv - Roadmap to the Future of Docs
- 1. Â
- 2. Roadmap to the Future of Docs Session One: Inventing the Future of the Documentary Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]
- 3. Â
- 5. Old World $
- 13. Old World $ Play festival Maybe
- 14. Old World $ Play festival Maybe Sell to distributor/broadcaster(s) Maybe – forever, everywhere
- 15. Old World $ Play festival Maybe Sell to distributor/broadcaster(s) Maybe – forever, everywhere Advance $0 - $15,000 avg Percentage of revenues 30% - 60% after expenses
- 16. Old World $ Play festival Maybe Sell to distributor/broadcaster(s) Maybe – forever, everywhere Advance $0 - $15,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully
- 17. Old World $ Play festival Maybe Sell to distributor/broadcaster(s) Maybe – forever, everywhere Advance $0 - $15,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully Who pays for the film If theaters book it or buyers buy
- 18. Old World $ Play festival Maybe Sell to distributor/broadcaster(s) Maybe – forever, everywhere Advance $0 - $15,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully Who pays for the film If theaters book it or buyers buy $ to distributor But, marketing, P&A, staffing, cross-collateralization, fees, delivery
- 19. Old World $ Play festival Maybe Sell to distributor/broadcaster(s) Maybe – forever, everywhere Advance $0 - $15,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully Who pays for the film If theaters book it or buyers buy $ to distributor But, marketing, P&A, staffing, cross-collateralization, fees, delivery $0 to filmakers $0 to investors No one is happy...and you don’t even own your film anymore
- 20. But it gets worse...
- 21. Â
- 23. It’s not until the tide goes out until you see who’s wearing the swim trunks - Warren Buffett
- 24. Â
- 25. Â
- 26. Â
- 28. Old World Value: Scarcity New World Value: Overabundance
- 29. Â
- 31. The people formerly known as the audience
- 32. Engagement
- 34. Langworthy & Henein Vanishing of the Bees
- 37. Â
- 38. Zoe Keating @ZoeCello 1.38 million followers on Twitter
- 40. www.ironsky.net
- 41. www.ironsky.net
- 42. www.ironsky.net
- 43. crowdcontrols.cc
- 44. Â
- 46. Â
- 48. thecosmonaut.org
- 49. thecosmonaut.org
- 50. Urbanized on KickStarter
- 51. Urbanized on KickStarter
- 52. Ai WeiWei: Never Sorry on KickStarter
- 54. Convenience & Immediacy Immediacy
- 56. McAbee: Stingray Sam
- 57. Mobile
- 58. Sally Potter’s Rage First Movie Premiering Day/Date at a Festival and on Mobile
- 59. Phil Cox, Giovanna Stopponi and Annie Sundberg: Bengali Detective 12 Episodes online/mobile in advance of Sundance Premiere
- 62. Vo.Do
- 63. Zenith on Vo.Do Tradi tional Distributor chose to release episodic content as chapters, for free, on Vo.Do
- 64. Short
- 65. Old Paradigm’s Delivery Methods Forced Certain Artistic Decisions
- 67. Multiple Access Points Covered next, in Part Two
- 68. Authenticity
- 69. Gary Hustwit: Objectified
- 70. Localism
- 71. Reward
- 73. Â
- 74. Collapsus by Submarine Channel Covered In-Depth in Part Two
- 75. Creating context is more important than creating content. The greatest creative and business opportunities are everything around the content Taylor Davidson
- 76. Data
- 77. Â
- 78. Â
- 79. New World of Possibilities Possibilities New Directions & Methods
- 81. We’re at a rare moment when the experiments with form fit the new paradigm. A maturing point, where artistic and audience desires are coinciding.
- 82. New World/Hybrid $ “ New World or Hybrid Distribution combines direct sales by filmmakers with distribution by third parties (e.g. DVD distributors, TV channels, VOD companies, educational distributors)” Peter Broderick
- 83. New World/Hybrid $ You own rights Split rights Partner for exploitation You keep more $
- 84. New World/Hybrid $ You own rights Split rights Partner for exploitation You keep more $ ......(in theory)
- 85. Rights & Terms Theatrical Non-theatrical Educational Ancillary Home Video Broadcast Online VOD (rental), EST (purchase) Piracy/Peer to Peer Foreign Mobile Event/alternatives Transmedia MG Minimum Guarantee/Advance Exclusivity/Non Term Territories/markets Cross-collateralization Marketing/ P&A Commitments Windows Day and Date
- 86. Audience Development From Jon Reiss: Think Outside the Box Office Your film Your needs New Rights Scheme: Your audience Live event/Theatrical Your resources Merchandise Create a strategy Digital Build your team - PMD Start before finished - the new 50/50 Build core audience Social Media Transmedia
- 87. Make Your Own Model - evaluate your Plan A vs. other Plan B(s)
- 88. Â
- 89. Roadmap to the Future of Docs End of Session One: Inventing the Future of the Documentary Questions & Answers & Feedback & Opinions Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]
- 90. Â
- 91. Roadmap to the Future of Docs Session Two: Transmedia Practice – Using cross-platform tools for story development and audience engagement Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]
- 93. Â
- 94. Transmedia What it is: Types/examples: Develop the story across multiple entry points Events Multi-platform Games/ARG Audience can become immersed in experience Interactive components/ Augmented Reality Deep audience engagement Graphic Novels Encourages participatory audiences Online & viral content Each element a distinctive experience Mobile Story flows & builds rev streams Think Outside the norms - experiences
- 95. Transmedia Quick thoughts: Some Experts: Build audience dev. components from the beginning Christy Dena Think beyond marketing Stephen Dinehart (coined) Extend the experience Jeff Gomez Think about impact & social change Henry Jenkins Not just games.... events, gallery shows, etc. Mike Monello Some projects may not need to be a film John Threat ...or can become one if successful Lance Weiler Transmedia can be simple Many more...
- 96. Lance Weiler: Pandemic
- 97. Lance Weiler: Pandemic
- 98. Tommy Palotta: Collapsus
- 99. David Dufresne and Philippe Brault: Prison Valley Case Study on SlideShare
- 100. Danfung Dennis and Patrick Chauvel: Condition ONE
- 101. Thomas Allen Harris: Through a Lens Darkly Video of Experience
- 102. Olds & Scott: Occupation Dreamland
- 104. Market Conditions Established Practices/Incumbent Players + + = Fear Less Experimentation
- 105. Photo Credit: FFFFound
- 106. NEW + OLD
- 108. Â
- 109. Story Key Components Characters What are hooks? Ride Why watch? Moments Why keep watching? Plot How does story keep moving across platforms? Premise Does anything need to change in light of audience, platforms or business model? Themes Is audience engaged in creation? Story vs Experience
- 110. Â
- 111. Audience Who is your audience? What is their lifestyle? Where are they? What platforms do they use? How do they get their information? Their entertainment? Their culture? Their news? When should they be engaged? How participatory are they? Do we want them to be? Moving from me to we.
- 112. Â
- 113. Multi-Modal Practices Platforms Theatrical Events Nontheatrical (incl. fests) Games Educational ARG Broadcast Interactive DVD Experiences VOD/EST Apps Online + Viral Content Marketing Piracy/Peer to Peer PR Territories Print Mobile/Portable Devices Merchandise Windows Other....
- 114. A U D I E N C E Multi-Modal Practices Platforms Theatrical Events Nontheatrical (incl. fests) Games Educational ARG Broadcast Interactive DVD Experiences VOD/EST Apps Online + Viral Content Marketing Piracy/Peer to Peer PR Territories Print Mobile/Portable Devices Merchandise Windows Other....
- 115. Â
- 116. Multi-Modal Practices Business/Finance Models Foundations Co-Op Marketing Government Licensing Nonprofit/NGO Partnerships Gap Corporate/Brands Debt Individual Donors Free Investment Subscription Tax Incentives/Rebates/Credits Advertising Sales Affiliate Models Sales Agents Lease Related Sales (merchandise, stock footage....) Co-Production Post Other....
- 117. Each platform will probably have multiple business models
- 118. Â
- 119. Execution Who is in charge? Who is creative team? PMD - Producer of Marketing & Distribution Transmedia Producer Fundraising Rest of the team Resources Script finalization Strategy Launch, Roll-Out & Timing Measurement, monitor, metrics for success
- 120. Â
- 121. Audience Engagement
- 122. Â
- 124. The biggest problem with most projects, and with the industry generally, is a total disconnect from the audience. We need to put as much creativity and work into < thinking about, learning about/from, developing > our audience as we put into creating our stories .
- 125. The best way to predict the future is to invent it Alan Kay
- 126. Roadmap to the Future of Docs End of Session Two: Transmedia Practice – Q&A and Discussion Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]
- 127. Â
- 128. Roadmap to the Future of Docs Session Three: Workshop on your Projects Brian Newman springboardmedia.blogspot.com @bnewman01
- 129. Â
- 130. Roadmap to the Future of Docs End of Day Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]
- 131. Â
- 132. Â
Hinweis der Redaktion
- Thanks to Elizabeth Strickler and Kay Beck
- First things first, we have to realize that the model is broken - pretty much all the business models for film have changed dramatically if they haven’t broken all together
- the usual model is completely broken
- yet still, films were made. Well, the first thing you have to realize is that digital has been a disruptive innovation on the field. it completely transforms everything we do. music biz example, trouble embracing the new so lose out
- It has rolled back the tide on many bad business models and changed them fundamentally. We can now speak to one another more easily and see just how poorly a gallery is paying or a distributor, etc. Also, these behaviors (online) aren’t new - these aren’t new behaviors but what people wanted to do all along; also story of everyone knows future
- we can’t operate in an analogue world anymore - the single biggest problem facing the industry is that so many people want to think that his is a cycle that will pass, that things will go back to normal, that digital is the same as analogue and we can adapt it to our existing models
- but it’s a fundamental shift and we’re ill-fitted to the task if we try to cram digital economies into our old way of thinking
- we’re in a whole new paradigm and business models are changing overnight in every industry.think about it, newspaper advertising and classifieds were a multi billion dollar industry and craigslist came along and tidied that up into one profitable 100 million company. the changes here will be just as profound
- But we need to step back and look at a 50,000 ft level at what has changed Indeed the very notion of value has changed.
- in the old world, the business was built on scarcity, but today we have ubiquity - true obviously in film and music, but also in all other arts - you are now competing with a worldwide artist base, and the entire history of the arts. And audiences who want cultural entertainment (or enlightenment, or....) can get it from many new places.
- Superabundance, weight of film history plus 45K films made a year; can get them all on a hard drive in China, why pay for and watch yours?
- what matters is my attention
- We, the people formerly known as the audience, rule
- and engaging me, and keeping me engaged, is ever more valuable
- becoming more participatory, a conversation
- here’s an example of a filmmaker using it to their advantage - building community. note how they make it easy for people to take the content to other websites and blogs through widgets, etc. Notice how Vanishing of the Bees has a blog, a petition, twitter, facebook, etc. and a widget to take the content elsewhere.
- the latest twitter stats
- the latest twitter stats
- Zoe Keating has used it to amass an audience of over 1 million followers, and she now has a self-sustaining career. Notice here she is replying/thanking a fan who cued her in on how to watch some media. She’s not just working a one way street, she’s communicating with her audience.
- zoe has built a fan base, that’s in constant dialogue with her. Because this should be your ultimate goal - not to think of building an audience for just one project, but for you, your career - people who will continue to follow you, be in dialogue with you and support your career.
- Filmmakers are doing it on their own. Iron Sky example
- Join community in multiple places, now have 28K fans, and the movie isn’t even shot yet
- also have people requesting the film through a Google Map mashup, and have over 19K requests before the movie is shot.
- and now you can too with crowdcontrols
- Him, her and them -
- We’re also seeing people turning the audiences into their funders
- Patronage – radiohead model, give it away but can donate to get more. Jill Sobule got her fans to donate to make her album - 95K
- Here’s a blow-up of what you got for your donation
- here’s a recent example of filmmakers doing this - cosmonaut example - one of the more clever uses of crowd-funding
- cosmonaut example - here’s some of their merchandise, gives a broad range for support
- cosmonaut example - here’s some of their merchandise, gives a broad range for support
- cosmonaut example - here’s some of their merchandise, gives a broad range for support
- Age of Stupid did this as well to much success and made a guide to it that anyone can download
- it has to be convenient, immediate, because when I have things competing for my attention, I will move on. This means, people expect multi-platform
- They want it when they want it, from whatever portal they like and on whatever device they like, and they want it yesterday They want to share it virally with their friends
- and they may even still buy the film on a DVD or other method - but they want access to all of these platforms. Here’s one filmmaker who is using that to his advantage - Cory McAbee with Stingray Sam - offering easy ways to get it in multiple formats and with value added.
- and on mobile phone
- and get it on mobile- one of the biggest trends recently and in coming years, which I’m not devoting enough time to today.
- and get it on mobile- one of the biggest trends recently and in coming years, which I’m not devoting enough time to today.
- and they want it free, whether with ad support or through piracy
- Immediacy – get it now, early Personalized – to your rating Interpretation – free code, manual 10K – or gene understanding Authenticity – from the Dead Accessibility – someone else stores it for use anywhere – gmail Embodiment – Book is free, lecture with author costs Patronage – support the artist, radiohead Findability – finding it in the sea
- Now has morphed into Vodo, to launch soon
- Now has morphed into Vodo, to launch soon
- and they rarely watch anything too long, and not all docs need to be feature length, that’s a holdover from the old paradigm of way to distribute and sell films
- and they rarely watch anything too long, and not all docs need to be feature length, that’s a holdover from the old paradigm of way to distribute and sell films
- multiple access points, transmedia -
- multiple access points, transmedia -
- they want an authentic, true engaging experience
- they want an authentic, true engaging experience
- importance of localism - huge movement, in terms of locavore, etc, but also tribe - connecting with others is sooo strong
- I also like being rewarded - we see this in crowdfunding, but could be applied in other ways - earn rewards for sharing the film, for participating with the film; also leads to importance of games
- we like to say it’s all about content, but it’s really all about context - it’s about the context built around the content, the experiences I can share, the way it is placed, etc
- data hugely important, but often not accessible to filmmakers and many aren’t keeping it - it’s the new oil
- There’s an old marketing theory that says people don’t go to store to buy a ¼” drill, but because they want a ¼” hole. don’t go to the store to buy a hammer. They go there because they want to hang a picture, to get something done, and the hammer just helps them do it.
- I love seeing a movie in a theater, but let’s face it – that was a tool for Hollywood to pack as many people into one space and make money off their desire to escape. It was a tool to have a fun night out, but it was only one tool.
- multiple access points, transmedia -
- multiple access points, transmedia -
- So what are the rights you can split up? Here’s most of them, as well as some terms you should think about when negotiating. These aren’t everything to think about, use a lawyer, but it’s a start. Explain terms
- Explain Jon Reiss’ book and model
- Make your own model
- these aren’t new behaviors but what people wanted to do all along We now have new tools, and we can’t fight it, but need to embrace them to our benefit. The audience wants to build something – they can get your hammer for free, or you can give them a reason to buy it. They also want to interact with you in new ways, so use these tools to your advantage. People can collect around your film, watch it and interact with it in new ways now. And we have new ways of reaching them and engaging them.
- Thanks to Elizabeth Strickler and Kay Beck
- Thanks to Elizabeth Strickler and Kay Beck
- multiple access points, transmedia -
- Cross media allows them to become active participants in multiple parts of the story. It allows them to delve deeper into the experience if they so choose, or access it from their preferred medium. The idea is to expand the story line into multiple media. The Matrix is the most famous recent example
- Definitions of transmedia and examples/things to think about
- More to think about and experts.
- Collapsus, games, interactive, fiction, documentary, animation, broadcast, screenings, online, mobile
- Collapsus, games, interactive, fiction, documentary, animation, broadcast, screenings, online, mobile
- Collapsus, games, interactive, fiction, documentary, animation, broadcast, screenings, online, mobile
- Prison valley: case study: http://www.slideshare.net/tishna/alexandre-brachet-of-upiancom-case-study-crossmedia-producer-of-gaza-sderot-prison-valley online interactive doc/broadcast/game/iphone app/book/photo exhibition/article in TIME
- Condition ONE: http://vimeo.com/danfung/c1 DSLR, modified approximates human field of vision, even peripheral, 180 degree distorted blend instead of 50mm view interactive images, domed cockpit view and Augmented Reality Shake up people’s sense of reality, immerse them and get them to take action
- Thomas Allen Harris and Through a Lens Darkly
- Occupation Dreamland realized that their film wasn’t just about the Iraq war, but about recruitment. They found a scene where soldiers in the war are being asked to re-enlist, and one speaks up and says to the recruiter that he lied to him before and said he wouldn’t see action, wouldn’t see his friends die and he did. He calls him a liar. It’s powerful, so they made that clip available as a downloadable cell clip and gave it to anti-war activists on campuses, who could go up to recruiting stations and show it to potential recruits, to expose the lies. The point is, cross-media isn’t just flashy games, but engagement and impact.
- unfortunately, we live in reality, in a hybrid space
- unfortunately, we live in reality, in a hybrid space
- How do we avoid sudden death?
- mix old and new models
- what does that mean? i call it multi-modal business practices, multi modal optimization
- way of thinking about it
- way of thinking about it
- way of thinking about it
- Different platforms
- Different platforms
- way of thinking about it
- Business models, and each has subsets
- way of thinking about it
- way of thinking about it
- we know less about audience than any other industry; we ignore what they tell us (not pay per use); we spend less time thinking about them; few people focus on it in plans and it is the only thing that matters
- what’s next? also - can’t predict past, or know present, but future is easy to see on horizon
- Thanks to Elizabeth Strickler and Kay Beck
- Thanks to Elizabeth Strickler and Kay Beck
- way of thinking about it
- Thanks to Elizabeth Strickler and Kay Beck