All About BitTorrent Bundles

http://nofilmschool.com/2013/05/bittorrent-bundle-decentralized-distribution-marketing
Van Hove, M. (2013, May 14). Introducing BitTorrent Bundle: Pioneering Decentralized Digital Distribution & Marketing. Retrieved January 7, 2015, from http://nofilmschool.com/2013/05/bittorrent-bundle-decentralized-distribution-marketing


"No film school" is a forum for aspiring filmmakers and film fanatics alike, with a vast array of information ranging from production, to marketing and distribution, and so much more.  Articles are posted on this site in the style of a blog, providing the newest information on an abundance of current topics in the film industry.  This  particular article from the website is titled "Introducing BitTorrent Bundle: Pioneering Decentralized Digital Distribution and marketing."  Not only is this lengthy title quite catchy due to its alliteration, but it is also gives a hint of how jam packed the article is with a ton of exciting information.  Readers are introduced to a new platform for independent film makers to distribute their work.  The BitTorrent program and company, once accused of being a tool for "piracy," is attempting to cleanse its reputation.  This article, conducted as an interview with VP of marketing Matt Mason, informs about the company's vision of providing innovative work and a powerful vision as an ally of independent work within entertainment industries such as film.

Important Quotes Explained:

featuring the words of Matthew Mason, Vice President of Marketing at BitTorrent



1. " BitTorrent Bundles provide a way for creators large and small to have all the advantages of the peer-to-peer protocol while also maintaining control over their content by creating 'gates' that must be unlocked by the consumer."
• This quote basically encompasses the platform and purpose of this innovative program, which links independent producers and consumers in a decentralized way never done before.
2. "The internet is a completely decentralized system and I think the big problem we have in terms of transferring the physical business model of selling content into the digital world is that we apply these physical constraints and think about centralized models and stores, when in fact that's going against the grain of how the entire internet works."
• The problem with centralized resources on the web is that the internet was never meant to be focused.  By nature, it is decentralized, so it only makes sense that tools of distribution on the web learn to adapt.  Mason and his team see BitTorrent as the logical step of progression during a modern era of converging technology and communication.
3. " The best way to stop piracy is to compete with it, there's no fighting it. You just get in this endless futile game of whack-a-mole. We do everything we can to point people towards good content and we feel that's the best way to combat piracy."
• In essence, this quote explains how the BitTorrent Company considers itself a competitor against piracy forces within modern entertainment. The only way of stopping piracy is to find a better alternative which uses technology for the purpose of interaction between creator and consumer.  This ballsy approach is exactly the one that Mason claims BitTorrent plans to take.
4. We're going to solve distribution. The biggest problem for the future of filmmaking in the digital realm is marketing. Learning to do relationship-based marketing with audiences, learning how to release things online is going to be the biggest challenge of the next 10 years, it's not gonna be distribution, it's not gonna be piracy.
• This quote reveals BitTorrent Bundles as a modern tool created to combat future threats in the media.  In a way, this approach is not only innovative, but also proactive.  Matt Mason and his colleagues sense a change in the importance of marketing within a digital atmosphere, stemming from self distribution and eradicating piracy by appealing directly to consumer audiences.

To keep it simple...

BitTorrent Bundle is an entertainment distribution network that has been a legitimate company and enterprise ever since 2004.  Unfortunately for the brand, BitTorrent has become synonymous with piracy as new advances in technology make it easier for consumers to access products of entertainment without paying.  These actions, that are so common in the 21st century, are exactly what the BitTorrent platform is trying to combat.  BitTorrent is innovative in the sense that it was one of the first programs to adapt to the decentralized model of the internet, making it just as easy for consumers to access pieces of media.  However, direct interaction between the producer and consumer provides monetary gain as well as exposure for the creator of the media content.  While piracy sites succeed in cheapening the work of filmmakers by giving out their work for free, BitTorrent bundles enforce consumer contentment and producer payback.  Both sides benefit from the interactive setup of the program.

From what it sounds like, BitTorrent Bundle is flipping the norms of film entertainment, distribution, and marketing on their heads.  According to Vice President of marketing, Matt Mason, if the only way to eradicate piracy is to compete with it, then this program is the closest technology has come to decentralized entertainment interaction.  This refreshing take on modern technology contributing to film distribution is derived from an impassioned point of view, as well as a drive to eliminate the negative connotations with Piracy that BitTorrent had acquired.

In the second posting on this blog, "Film as We Know it", modern forms of self/direct/alternative distribution through technology were listed and discussed.  Incidentally, BitTorrent Bundle was one of the most popular and well reviewed programs for self distribution according to many aspiring film makers and consumers on this site.  It is hard to believe how BitTorrent garnered a flawed reputation, with a false stigma that this influential program was just another form of piracy.  On the contrary, the BitTorrent bundles enterprise prides itself in empowering creators and consumers alike, benefiting both sides of the chain in the film entertainment industry.  Not only can filmmakers and film lovers easily interact and share product as well as feedback with one another, but the movie makers are able to generate money which would have been impossible to earn if the work had been distributed through piracy...

 

 

Stay tuned for the next posting which will explain how and why BitTorrent bundle is trying to help Sony pictures in distributing the prematurely released film, "The Interview."



Distribution Dominators

http://www.soc.duke.edu/~s142tm05/corporate.htm
Major Distribution Companies of the Motion Picture Industry:. (1998, January 1). Retrieved December 17, 2014, from http://www.soc.duke.edu/~s142tm05/corporate.htm

This particular article was posted on a page affiliated with Duke University, one of the most prestigious universities in the United States.  Titled "Major distribution companies of the Motion Picture industry", the posting delves deeper into some of the biggest brands in the business, all working behind the release of the popular films that we all know and love!  Also, it answers some of the most basic questions regarding distribution as a business. While alternative and self distribution are emerging trends for independent filmmakers, it is hard to ignore the commercial aspect of film that is ever present in the industry: big names, big productions, and big companies are behind the release of typical films that show in commercial theaters across the US and beyond.  Responsible for films such as these only a few major distribution companies that dominate the market and the industry.

Quotes and explanations:

1. "motion picture industry is very much dominated by large and very diversified conglomerates, such as The Walt Disney Co., News Corp., Sony Corp., Time Warner Inc., and Viacom Inc. which finance the development of new products, in this case motion pictures, own vast libraries of older products, and often own distribution channels for bringing these new products to the public. Sometimes the distributor will finance the movie from beginning to end and other times, they provide a portion of the finances and subsequently receive a cut of the profits."
• This quote is very informative while also being straight to the point.  Much of the film industry is dominated by a slim number of enormous companies that use cross convergence of media to dominate the market.
2. The power of the industry is very much dominated in the distribution companies, for the product, the film, can not be completely produced without the finances and influence of the distribution company. These vast entertainment conglomerates very much dominate the industry because they do have more clout with theater owners and TV networks, if they do not own their own subset within the very conglomerate. They can offer brand name recognition to the viewer, and have more connections to the creative talent and experience with effective management.
• As typical in any business, money makes the world go around.  Especially in an industry such as film where the business is dubiously as important as the entertainment aspect, distributors will look for big names in TV networks and theater owners such as they.  In turn, they will look to big distributors when deciding which films to show.  In the commercial side of film and moviemaking, being a big name distributor is equivalent to being a well-known actor, actress, or studio.

To keep it simple...

Here are six of the most prominent film distribution companies in the modern film industry, along with a brief description of their notable features.

1. Viacom Inc.
• 12.86 billion dollar distribution and production company; one of the largest entertainment companies
• subdivisions include Blockbuster, Paramount pictures, Paramount television, MTV, ShowTime networks, 19 TV stations, etc. (an international theatrical exhibition chain)
• Paramount is one of the first major production companies (roots all the way back to 1912); more than 2,500 titles
• capitalizes resources at other Viacom subdivisions (nickelodeon, MTV, etc.)
• domestic productions of Viacom (Paramount) distributed internally
• United International Pictures (UIP) handles Viacom distribution on a more global basis; Viacom has 33% ownership of UIP
•  plans to acquire CBS corp.  (30 billion dollar company) in a stock swap
2. Time Warner Inc.
• large entertainment conglomeration
• divisions in cable systems, music, film entertainment, publishing, and cable networks
• includes Warner Brothers and New Line cinema
• Warner Brothers has become an integrated global entertainment company with vast array of businesses
• over 5,700 films;
• generated $1.04 billion in one year alone, passing the one billion dollar annual mark
• New Line Cinema is the younger division, dealing mostly with independent productions, licensing its films to ancillary distribution channels (cable and Comcast TV)
• Austin Powers: The Spy who Changed me grossed more than $300 million; 26th highest domestic grossing motion picture in history
3. Fox Entertainment group
• one of the largest entertainment corporations in the nation; worth $17.2 million
• 83% of FOX owned by the News. Corp. Limited
• development, production, and worldwide distribution of feature films
• stock recently sold to the public, which increased revenues by a great margin
• responsible for 5/10 of the most popular films of all time
• three mainstream units consist of 20th century FOX, FOX 2000, and FOX animation studios
4. Universal Studios Group
• large entertainment company
• sectors in music, television, film, theme parks, etc.
• majority owned by Seagram Company
• subset of Universal pictures most directly associated with the distribution of motion pictures
• works closely with Jersey films and Imagine Entertainment in producing 'blockbusters'
• Universal studios also has a large role in distribution (take into mind the theme parks as well as the motion pictures themselves)
5. The Walt Disney Company
• one of nation's largest motion picture distribution companies
• operates at $6.8 billion dollar income
• founded by Walt Disney in late 1920's
• encompasses cartoon, motion pictures, television, theme parks, theatrical productions, vacation resorts, etc.
• owns one of the largest distribution companies in the world: Miramax
• Buena Vista International is the distributor of Disney motion pictures outside of North America; one of the top ranked distribution companies in the world as of 1998
6. Sony Corporation
• one of the world's largest international corporations
• motion pictures, television, video and dvd, cable networks, music, and electronics
• Sony Pictures Entertainment (SPE) in charge of motion picture aspect
• close association with Columbia and Tri-Star pictures, which are both also owned by Sony
• grosses millions of dollars in box office revenue alone

Many of the most successful distribution companies are so notable in their accomplishments because they are in charge of the production and marketing of their films as well.  In this sense, these conglomerations reap all the profits from high grossing motion pictures, becoming huge powerhouses in the entertainment industry.

Stay tuned for the next blog posting which will discuss the major distribution companies of independent films, rather than main-stream commercial movies.

Happy Holidays! Here is a compilation of some of the 'best' Christmas snippets of film in history.  Enjoy!

Mainstream Movie Distribution: The Basics

http://entertainment.howstuffworks.com/movie-distribution3.htm
Tyson, J. (n.d.). Lots More Information - How Movie Distribution Works. Retrieved December 10, 2014, from http://entertainment.howstuffworks.com/movie-distribution3.htm

"How stuff works" is a website that serves as a huge provider of information for subjects over a wide range of interests: from adventure, to culture, and even technology.  The site pulls the information in its articles from legitimate sources, and presents it in a factual yet entertaining way.  This particular article from "How stuff works" in the entertainment section is titled, "How Movie Distribution works."  Not very surprisingly, the article does just as it implies.  It explains the basics behind the multilayered processes of distribution which are so behind the scenes of the film world that many aren't aware how imperative distribution is to the success of the movies.

Quotes and Explanations:

1. As you can see, there is a lot that goes on before a movie is ever shown to a paying audience!
• Movies aren't just created over night! The art of filmmaking and producing requires a lot of time and effort.  It is hard to realize how important the distribution aspect of film is because it is often accepted that these movies are being showed for our entertainment, yet rarely questioned regarding the processes that go behind it.
2. It has been said that making a movie is not nearly as difficult as getting it distributed. Because of the enormous amount of cost in money and time involved in distributing a movie, a distributor must feel confident that they can make a sufficient return on their investment.
• Marketing and distributing a film on a large scale requires a lot of money.  With that being said, distributors are more likely to fund the release of a film that they are sure is likely to gross high in the box offices.  At the least, a distributor is looking to get their investment back after the release of a movie , and hopefully bring in even more money.  Making a movie is just the beginning.  After production, marketing is followed by distribution...and this step is not as light and breezy as it may seem.
3. Obviously, a movie that has everything -- major studio backing, big stars and a great story -- is probably going to open big and do very well.
• These are the essentials for a lucrative blockbuster hit.  Distributors will look for films with the features above, because name recognition is likely to attract a fan base, major studio backing means good marketing exposure, and a great story is what almost everyone wants in a film.  Just like moviegoers are more likely to invest in the viewing of films they feel they will enjoy, distributors will fund a film's release that they are sure will do well in theaters.

To keep it simple...

This article pretty much entails the processes within the film business that ultimately lead to distribution: the journey from the initial concept of a movie in a director's mind, all the way to its showing in theaters across the globe.  

The flow of money originates with the producer, who makes a film which is invested in by distributors, and often bought to be sold by the theaters themselves.  Next, customers purchase tickets in order to view the film, and this money is initially part of the theater's revenue.  Ultimately, the monetary success is brought back to the distribution company and flows right back up to the producer.  In the midst of all this madness, the distribution aspect of film remains firmly in the middle between the initial production and the final viewings.

Distribution may vary depending on how successful the film is likely to be.  For example, movies directed by big name directors starring well-known actors are likely to receive the backing of major distribution companies, while independent films tend to use film festivals as a way of attracting the attention of distributors.  As discussed in earlier postings, a lot of independent film makers have even adopted methods of self/alternative distribution using new technological web tools and platforms.  Regardless, distribution agreements usually follow two kinds of models between two parties (a director and a distributor):

1. leasing model
• This is the simpler form of a distribution agreement, because the distributors pay a fixed amount of money in order to own the rights of a film for purposes of distributions.
• also known as "bidding"
2. profit sharing model
• A certain percentage of net profits generated by the film (usually 10-50%) go directly to the distribution company
• also known as "percentage"
• more common in modern distribution deals
• the "nut" is negotiated with the distributer, which is a set amount to cover the theater's weekly expenses
• the percentage of revenue shared between the distribution company and the theater is set

Both models of distribution can be good or bad, largely depending on the success of the film.  Generally, in a world that revolves around money, both the distribution company and the studio will try to settle on a deal that is lucrative for their particular side.  Many major film studios own their own companies for distribution, and the effects of this dual ownership can either wind up to be extremely beneficial or detrimental.  In the case that the film is a hit in the box offices, the studio will reap all profits considering it owns the distribution rights as well.  On the contrary, if a majorly funded film winds up being a flop, the costs rest solely on the studio.

In addition to rights over distribution, some distribution companies also obtain ancillary rights.  This consists of the ability to distribute a film after the initial release in modes such as DVD, VHS, network TV, etc.  Ancillary rights may also consist of the rights to a variety of spinoff merchandise such as soundtracks, games, and toys.  

So a big question remains.  Once a film is leased to a distribution company, what are the necessary factors in achieving a successful opening film?  Some of the basic components include:

1. a targeted (niche audience)..which is discussed in depth in one of the previous blog postings
2. major studio backing
3. star power/the factor of celebrities
4. the film's season
• obviously a patriotic war film is likely to do better in the box offices on the fourth of July, rather than Christmas day.
5. and most importantly...buzz!!

Of course there are exceptions.  For example, a film with sufficient star power that doesn't have "legs" means it's not likely to do well over the long run.  This may be for a variety of reasons, and theaters may compensate for this by showing the film in special engagements, which is likely to attract targeted audiences in masses on specific dates/times.  Other films that prove to be extremely successful in the box office may be "held over", meaning the movie lease has been extended. 

 

In order to work out these kinds of agreements, movie theaters hire 'buyers' who manage negotiations with film distribution companies.  This is an extremely important link between theaters and distributors because the movie will not be leased unless the buyer is interested.  Generally, movie theaters will be less inclined to show films that did not generate enough interest while being promoted.  There is often a lack of 'buzz'  when there has not been enough official information released about the movie or the actors are not well known.  On the other hand, some films that generate a lot of buzz are not likely to be popular among mass audiences, perhaps because the targeted audience is too specific and not broad enough.    

 

For reasons such as these, it is important that the distributor decides the optimal amount of prints to make for each film.  Considering that each print costs $1,500-2,000 dollars to make, the accuracy of this decision is imperative!  The costs of distributing films are only worthwhile when the film is likely to attract audiences and bring enough money to satisfy the costs.  On the other hand, the theater must also make up for the costs lost after leasing the rights to a movie from distribution companies.  Movies shown in theaters are merely "loss leaders", meant to bring in a crowd.  Most of a movie theater's revenue comes from the sale of concessions, and perhaps this is why your extra large slurpee and tub of popcorn winds up costing as much as a full meal at many restaurants...

 

Regardless, it is becoming clear that although the film industry is mainly an institution of entertainment, it is also a business.  Often times, the business aspects of film are overlooked by common moviegoers, but that doesn't mean they don't exist.  In the next blog posting, major distribution companies will be discussed and focused on.



Niche Audiences, and how to directly market to these targets...

http://www.sellingyourfilm.com/blog/tag/niche-audiences/
Reiss, J. (2011, September 27). Seven Release Strategies that can make or break your movie. Retrieved December 5, 2014, from http://www.sellingyourfilm.com/blog/2011/09/27/seven-release-strategies-that-can-make-or-break-your-movie/

This particular website, plainly titled "selling your film", reveals little tidbits of industry advice on how to develop an audience and generate money in the film business, particularly with independent projects.  The site consists of different kinds of sources of information, ranging from a store, to a newsletter, a glossary, a blog, and even an entire section devoted to the industry itself.  In the "about" component of the website, one can see that "selling your film"'s main purpose is to provide case studies regarding the independent film industry that may help to assist aspiring filmmakers as they undertake the journey of creating a movie.   Also, the site is run by the "The film collaborative" (TFC): a non-profit committee devoted to the facilitation of making independent films as well as the marketing and distribution aspects behind the success of these projects.  The authors and co-creators of this site are named Orly Ravid and Jeffrey Winter.

This article, titled "The seven release strategies that can make or break your movie", delves deeper into the utmost importance of marketing and distribution in the filmmaking process, with an emphasis on the necessity for a clear "niche" audience.  Basically, a niche audience is a target audience that directors focus on drawing in, appealing to, and appeasing during the production of any film project (be it independant or main stream.)   Here is a brief analoge that sums up the importance of a niche audience: print magazines would typically only sell if there was a specific topic that draws in a certain audience's subscriptions.  In the same sense, most films will only reach success if they contain subject matter that appeals to a certain type of viewer, whether that range of viewers be broad or of a smaller scale.  It all depends on the choice in direction of the work, as well as the film's intentions.  For example, some movies are created by directors mainly for the purpose of artistic expression, while others are made with the sole purpose of making money.  Generally, however, filmmakers will wish to bring home some profit in these endeavors, considering that money makes the world go around and usually films require investments that may be deemed worthless without a reasonable payoff.

Quotes and Explanations:

1. "There are many elements in formulating a strategy to release your film. The most important consideration on the list? Knowing what you want to accomplish. Films can have a variety of goals and they aren’t all tied to making money."
• This quote practically encompasses everything I said within the last paragraph.  A key component to filmmaking as well as marketing is setting up a strategy that corresponds directly to your particular vision and needs.  The first step in achieving any accomplishment is having exactly what you want in mind, and being aware of the necessary steps to get to that point.  For some filmmakers, it is not all about the money.  Other incentives and goals in production and marketing of a movie will be focused on within the summary below ("to keep it simple.")
2. "You have a unique vision; use that vision to engage your audience in a unique manner. This will help separate you from the media noise that surrounds us every day."
• It is important to be yourself, and to direct, make, or produce a film that embodies yourself in a distinctly individual way .  Generic movies are a dime a dozen in the modern film industry.  What really sets certain filmmakers apart is innovation and originality, and this stems primarily from a unique vision.
3. "There are multiple goals that you can strive for in the release of your film, but you must prioritize what is most important to you."
• Try to decide on what is most important In your particular marketing strategy and solely focus on this! If you spread yourself too thin and come up with a ton of wide spread, far reaching ideas, it will be hard to master these marketing/distribution techniques to the best of your abilities.  Time and money are optimally spent on a clear, precise vision and strategy, and not a 'schmorgazboard' of unclear marketing campaigns.
4. "I recommend that you consider and conceive of a marketing strategy for your film early in the production process, even at inception."
• Have you ever heard the expression, "the early bird gets the worm" ?  In this case, that phrase proves completely accurate.  When drawing up ideas for marketing strategies, it is very important to be proactive.  After all, it is better to be over prepared and ready to go than underprepared and delayed, especially in a marketed industry that is so fast-paced!
5. "A well-analyzed, affordable budget will help to focus achievable marketing efforts without wasting time and money. "
• Finance organization and planning is an essential backbone behind any developing film project, especially for independent movies with very little funds.  Make sure to optimize all resources, big and small, and work out a budget that does not seem too overreaching.  You never know how much money your film will generate, so often times it is best to just play it safe.
6. "It is important to have the proper attitude toward your audience and these organizations. Think, “What can I give them?” instead of, “What can they do for me?” If you think of the former, the latter will flow. "
• Audiences react in a positive manner to films that seem to reach out to viewers, and truly offer something, whether exciting, bold, touching, funny, etc.  Play to your audience, and if it works out in the intended way, the audience will play right back to you.

 To keep it simple...

 

When it comes to distribution and release patterns of films, there is a ton that goes into it aside from the monetary aspect.  In fact, there are other goals in the making and distribution of films beside making money; at least for some directors   Here are the seven quick tips in developing a successful marketing strategy for an independent film project, made easy fine-tuned to the director's specific motives for production.

 

1. Just as all films should be unique, all marketing strategies should be distinct and picked directly based on the goals and intentions of the film project.  Marketing strategies are not a "one size fits all" kind of deal.  There is a wide range of marketing tools and strategies to utilize in the film industry, and each movie might require use of specific ones.  It is all relative!
2. Know your goals, focus on these goals, and prioritize these goals! Each film has a different kind of agenda, but what is truly important is that these motives are clear and distinct.  Some examples of common goals for filmmaking include:
• exposure
• monetary gain
• development of a fan base
• career launch
• impetus for world change
• whatever your particular reason for creating and/or distributing a movie, STICK TO IT!
3. It is imperative to implement a clear marketing strategy by answering the five w's (who, what, when, where, why) and most importantly...the How! As trivial as it sounds, it is an essential ingredient involved in picking a niche audience, and devising the proper marketing strategies to reach these targeted viewers.
4. The production and marketing budgets must be created hand in hand.  This helps in avoiding monetary discrepancies and helps in achieving the best financial outcome for a project, regardless of the level of funding a film is granted.  Organization is key, especially if the goal is in generating money and not losing it instead!
5. You must go past identifying the audience, whether it be a "niche" one or not, and work on engaging this audience completely.  This might be the fine line between a decently grossing movie and a highly profitable film!  However, engaging the target audience involves a three step questionnaire:
1. WHO exactly is the audience?
2. WHERE is the most optimal place to reach this audience?
3. HOW does this audience use media, and therefore, what is the best marketing strategy to use for these specific viewers?  HOW will this exposure generate support?
6. It is important to know the difference between a core audience and a niche audience.
• "Niche" audience refers to the specific population that will be attracted to important aspects of a film.
• "Core" audience refers to the most ardent supporters of a film within a niche audience.
• "Tweenagers" would be the niche audience for the Twilight saga, while fans of the novels would be the core audience.
7. Engage in the organizations where your targeted audience would congregate.  Attitude toward your intended audience is everything, and interacting with organizations that the viewers are a part of provides incentive for them to support your film.

Hopefully, this blog posting was informative in what exactly a niche audience is, and the importance in both establishing this targeted audience and addressing it using specific marketing techniques and platforms.

 

Stay tuned for my next postings which will cover the basics in mainstream distribution as well as the most successful and well known distribution companies.  This is completely on the opposite end of the spectrum from the independent, alternative methods of distribution that have been focused on.

 



 

 





Direct or alternative distribution...that is the question

http://nofilmschool.com/2013/09/direct-distribution-roundup-whos-todays-digital-tools

Van Hove, M. (2013, September 23). Direct Distribution & Marketing Roundup: A Who's Who of Today's Digital Tools. Retrieved November 28, 2014, from http://nofilmschool.com/2013/09/direct-distribution-roundup-whos-todays-digital-tools


      Welcome back to Film...as we know it!  In the last blog posting, the 6 myths of the film industry were uncovered and set straight, along with accurate information regarding the important truths of marketing and distributing that go hand in hand with filmmaking.  In this blog posting, the cutting edge practice of direct distributing will be discussed, along with descriptions of today's most innovative digital tools for filmmakers who intend to make it big using the alternative route.

       "No film school" is a state of the art blog for aspiring filmmakers, which provides tutorials, interviews, short films, and gear news for all who wish to learn about the awe-inspiring film industry.  This website goes beyond typical social media in the sense that it not only connects billions of people around the world, but it offers thousands of resources with the newest information regarding anything and everything that is going on in film.  It is shocking how informative and interactive this website is, with such diverse sources of film-making knowledge that are easy to access and understand, even for the most basic of film enthusiasts.

       This particular article, titled "Direct Distribution & Marketing Roundup: A Who's Who of Today's Digital Tools", does exactly as the title claims.  It encompasses a brief list of today's most innovative and productive digital tools for aspiring filmmakers who wish to achieve success on their own terms.  The term direct distribution, also called self or alternative-distribution, is the underdog form of film distribution that is increasingly becoming more popular among a budding culture of potential filmmakers.  As it becomes more difficult to achieve the backing of a legitimate distribution company, rebellious filmmakers are deciding to take matters into their own hands and take on the role of marketer and distributor, in addition to filmmaker.  Likewise, owners of improving software have seen this trend and used it as an opportunity to create new digital tools with state of the art technologies that allow filmmakers to pursue direct distribution in an easy, efficient manner.

Quotes and Explanations

• "Whatever you choose to call it: self distribution, direct distribution, or as some prefer "alternative-distribution" -- the tools are out there for filmmakers to publish their work and get paid for it."
• Regardless of what you want to call it, it is widely acknowledged that direct distribution is a quickly growing tool for filmmakers to publicize their own work without the pressure of selling out to top-notch distribution moguls only focusing on the "mula" (money).
• "It's not a fast track to success and will likely require the full breadth of your attention to make it work, but it is quickly becoming the most viable way for filmmakers to carve out a market for themselves in this industry. "
• Just because you take the leap and decide to self-promote and self-distribute does not necessarily mean you will automatically achieve a successful film project.  As was said in the last blog posting, only a slim number out of the thousands of films that are made each year find considerable profit using this grassroots approach.  Even so, it is worth the try, and if it winds up proving lucrative, you have none other to thank but yourself.
• "Your film won’t become a huge success overnight, and you do have to put the work in to spread the word about your project via the social media platforms – but with the right amount of effort, even without a distributor, if your film reaches the right audience, it could reap rewards. "
• Making a successful film is a long journey that requires a keen balance between artistic expression and pure business. It is not an overnight process, but effort is everything.  More importantly, a filmmaker must be aware of their target audience, and do whatever possible to reel in these specific viewers and hook them on their film.  This is possible without the aid of a distributor, as long as the filmmaker is able to persevere.
• "What's more fun than having your own screenings, reaching out to filmmakers and doing a little revenue sharing? ...this is a model for the future as independent filmmakers transition into a lifestyle more akin to a band: touring your film around and creating smaller, more contextualized events and communities around your work."
• A new age of rock and roll rebelliousness is dawning in the film industry...and this is not necessarily a bad thing.  On the contrary, it is possible that this new found independence among directors will prompt a more inspired, less generic influx of innovative films that inspire audiences, regardless of the size, for the right reasons.
• "As said in a recent interview with Nandon Rao, Simple Machine's founder, "curation is everything," and it seems more now than ever finding and growing your niche market is what will be the key to being able to viably continue making films."
• Originality is an essential component to good filmmaking, and as filmmakers take the matters of distribution into their own hands, they no longer feel the pressure to sell out.  Each movie that is made will not appeal to all audiences, considering that diversity is everywhere and everyone has their own taste.  With that in mind, it is key that a filmmaker targets a niche market, or a specific audience, if they wish to have grassroots success.  And who knows?  Sometimes, a grassroots approach winds up becoming the next big thing. 

To keep it simple...

Here is a list, in alphabetical order, of the most popular tools of self-distribution that aspiring filmmakers are using today, along with a brief description of their defining characteristics.

1. assemble
• web tools and designs specifically for production, development, and distribution
• monthly fees as well as optional design fees
• interactive forums (mainly emails) to bounce ideas off of and improve
• "team" mantra
• "It is clever software that creates and manages your web-presence, gathers and tracks your audience and provides a sales mechanisms to sell your film and related products." --Cheri Candler (regarding Assemble)
2. BitTorrent bundles
• peer to peer distribution protocol
• over 170 million existing market endeavors
• relatively no fees
• extremely forward-thinking/innovative company
3. Bond360
• initiated by Marc Schiller's marketing PR firm
• filmmakers retain copyrights
• emphasis on audience building before film release
4. Chill
• emphasis on collecting analytical info about audiences
• utilizes social media to source and grow an audience
5. Createspace
• Amazon's direct distribution platform
• 50% profit rake
6. Digital Film Cloud Network
• dubbed the "match.com" of the movie industry
• helps filmmakers connect to distributors, marketers, producers, networks, etc.; allows for direct negotiation with filmmakers
7. Distribber
• flat annual service fee; the goal is to make this money back (profit after investment)
• filmmakers can keep their rights and track their sales
8. Distrify
• monthly fees, but no upfront costs!
• powerful, intuitive, and affordable tools for success
• useful tool for reaching an audience
9. Fandor
• subscriptions starting at 10$/months, streaming for independent films
• submissions only
• dubbed as an up and coming platform in the direct distribution market
10. Filmbay
• independent content's global distribution platform
• non-exclusive (no set up fees)
• filmmakers keep up to 95% of their profits
• complicated platform that focuses on filmmaking as well as marketing and distribution
11. Gumroad
• rich and analytic
• clean and straightforward website
• not limited to selling films or video content
• used by celebrities such as Eminem and Bon Jovi
12. IndieFlix
• dubbed the Netflix of indie movies
• non-exclusive
• more welcoming, open version of Netflix (very liberal and independent)
• impassioned members devoted to independent films
13. NoBudge
• submission fees, rough cut submission for feedback fee
• niche-community built in
• Kentucker Audley is the film showcaser and curator
• non exclusive, and noted for content and creativity
14. Pivotshare
• 30% profit rake
• no start-up fees, no monthly fees
• ability to split up revenue among a team
• considered one of 'the first' direct distribution sites; established in 2010
15. Quiver
• Distribution service to Hulu, iTunes, Amazon, Google Play, Sony Playstation Network and Hoopla; delivers quality-controlled content
16. Reelhouse
• partnered with sundance festival
• 6% transaction fee; no exclusivity
• "overarching library and aesthetics"
• resources for filmmakers in funding, marketing, and distribution
17. Seed&Spark
• mantra of content curation, crowd funding, and distribution
• dubbed as an 'all in one' for filmmakers
18. Simple Machine
• anyone can be a part of it (download a film, be a venue, etc.)
• service focused platform
• revolutionary in direct distribution
19. Topspin
• targeting the "indie" filmmakers
• different levels of accounts, mass emails at different sizes
• "punk rock" vibe and attitude
20. Veam
• way to put films into an app store or google play market (android and IOS)
21. VHX.TV
• non exclusive website domain
• distribution channel without upfront costs
22. Vimeo on Demand
• built in community of videographers and filmmakers
• fee of $200/year for a pro account
• advanced analytics
• up and coming more flexible and dynamic price range
23. Yekra

• substantial financial backing
• invite only channel
• not ad supported

      







It is easy to see that trends in direct distribution are continuing to grow alongside the web tools that give easy access for aspiring filmmakers to self distribute.  One question remains.  Will this form of alternative distribution ultimately yield so much success, that it may become the norm?  Afterall, modern technologies and business within the film industry evolve so rapidly that who knows...

       Stay tuned for my next blog posting where I will gather in depth insight as to what a "niche audience" truly is.  More importantly, what is the result of these new technologies that provide direct distribution to target audiences.  How will this affect the larger, more established distribution and marketing firms?...until next time.

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Myth Buster: 6 lies within the film industry...uncovered and set straight

http://www.writersstore.com/6-lies-of-film-distribution/

Courshon, J. (n.d.). 6 Lies of Film Distribution. Retrieved November 26, 2014, from http://www.writersstore.com/6-lies-of-film-distribution/

       This popular website, writer's store, prides itself on being a premium source of informative tools for aspiring writers as well as filmmakers.  Whether you are looking to start a new TV pilot, searching for information on the newest industry software, or scouting contests designed to publicize 'one sheet screenplays', this site has it all.  As a legitimate source that has served the filmmaking public for 30  years strong, this site also functions as a business.  It serves as a provider of innovative software and products within an industry where the technologies involved in production are constantly evolving.  There are different sections on the writer's store homepage dedicated to software, books, supplies, videos, courses, contests, ScriptXperts, sales, and even general advice; It is a hamlet of helpful resources for anybody interested in the filmmaking industry.  This may range from screenwriting and production, to marketing and even distribution.

       This particular article from writer's store, titled  the "6 lies of film distribution", delves into popular misconceptions of the film industry and addresses accurate statements regarding the importance of marketing and distribution.

 

Quotes and Explanations:

 

• "One of the major Achilles’ heels for film producers and directors is the distribution game."
• This quotation alludes to a mythological term.  The Achilles heel basically means a 'chief weakness.'  With this in mind, the author of the article addresses the fact that for many aspiring film makers, the production and creation aspects of film are not the problem...the difficulties lie in distribution and marketing.
• "Distribution is business, and distributors don’t care if you’ve made the greatest indie film/art film/documentary of the past 20 years. What they care about is if it will make them money...The more you can become a “salesperson” and marketing maven, the more success you will have on your quest for distribution or sales."
• This encompasses the truth inherent within the film industry.  Although film is an entertainment business, one can not forget that it is first and foremost a business!  It is dubious whether many of the modern age's "greatest films" are truly great films, or if their large following is solely based on marketing, sales, and appeal to target audiences.  One thing remains certain...money makes the world go around, and the main film marketers and distributors nowadays are mainly concerned with how much money your film is likely to generate.  Perhaps this is why many successful films are either completely generic or totally out of the box.  It makes you wonder whether filmmakers are truly inspired to create these stories, or merely selling out for the purposes of success!  In order to stay true to oneself while also making money and having your film reach successful status, it is important for film makers to surpass their roles in the production aspect and learn to market their own working.  This helps to ensure that the filmmaker has more control within distribution and sales.
• "There is real psychology involved in the “art” of selling a movie or documentary. Ignore at your own risk. However, if you learn this “art,” you will have success."
• Many filmmakers are so focused on the theatrical "art" of creating a movie that they tend to forget the more important "art" in achieving success: the ability to sell!! It is up to each and every filmmaker to pick the approach they will take in promoting their films in either main stream or alternative markets.  Regardless of the means, it is important to learn the "art of selling", which entails a certain mindset and strategy, in order to ensure your success as a filmmaker!
• "The silver lining however, is that with the right knowledge, coupled with dedicated and diligent work, anyone with a decent film can achieve success. Anyone. But it does take the right knowledge."
• Success within filmmaking requires the right combination of legitimate hard work and sheer luck!  It only takes the right background knowledge, uncompromising work ethic, and fortuitous circumstances to have a successful film on your hands, and a greater deal of money in your bank account.

To keep it simple...

       Listed below are the 6 myths associated with the film industry, albeit paraphrased, along with the correct truths that undermine these falsified statements:

1. If you're good enough in your role as a filmmaker, there is no need to learn and master the distribution/marketing aspects of the industry.  You can always rely on others for this task...FALSE!
• In addition to being the creative mastermind behind your films, it is key to become the business person behind your film's marketing and distribution.  Doing this yourself is bound to save a lot of money.  Regardless, these are good skills to have within an industry where 'putting yourself out there' in the most opportune ways is more indicative of success than producing a legitimately amazing film.
2. If a distributor calls you regarding your film, they are automatically interested and there is a strong likelihood of your film being acquired...FALSE!
• If your film is listed under a production column, there is a strong likelihood that you will be contact by a top-notch distributor.  However, if your goal is to get a theatrical distribution deal, it is imperative that you wait until the right time for a grand unveiling of your movie.  This prolonged revealing gives you time to perfect your film and finalize the finishing touches, and it also allows more excitement to be generated regarding your film's initial showing.
3. If your film was picked to be shown at one of the top three film festivals, you're automatically set...FALSE!
• Although this may seem like the final step in producing your long awaited film. the major work has yet to begin...Often times, these film festivals are amazing opportunities that go to waste because the filmmaker hasn't assembled a proper crew.  It is important to assemble a team that consists of a Public Relations firm, and agent, an attorney, and possibly a producer's representative.  These positions will serve as key players in either the success, or failure, of your film.
4. If you were rejected by the top tier film festivals, you are treated like a rock star at the lower tier, and on the straight track for distribution...FALSE!
• On the contrary, the main purpose of showing your film at festivals of a lower tier is not only gaining exposure, but also building pedigree within the industry.  Basically, this refers to a buildup of recognition that ensures your peers that a top-notch, high grossing film is in your hands.  Although this concept is hard to grasp, it is essential to the success of most films, especially independent ones.
5. If you don't prove successful in making deals with the top 15 home video companies, your prospects for distribution are weak...FALSE!
• If you have only contacted these fifteen companies, your work has just begun!  There are hundreds to choose from, and this industry along with DVD sales, despite the popular hype, is not dead.  In fact, they collect billions of dollars in revenue on an annual basis!
6. It is easy to bypass traditional film distribution practices while simultaneously making a lot of money!
• Out of the thousands of films produced each year, a slim amount of movies are able to generate a significant amount of money using this strategy.  It is key that a filmmaker utilizes hard work and specific strategies, usually acquired through intense learning or practice, in order to make this strategy work for them...it is possible, just not necessarily probable.

       The art of filmmaking goes beyond just 'the making of the film.'  It requires the right combination of marketing and distributing if you aspire for success in the industry.  The road to producing a successful film with the right backing is not easy...it entails blood, sweat, and tears.  However, if a filmmaker is passionate and driven enough to earn true success in the film industry, this daunting journey is easily surpassed and slayed.

Stay tuned for my next blog, which will encompass innovative new ways of self promotion and distribution within the film industry!!!  :)(: