Disruptive Innovations in Distribution: Who Owns the Screen?

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a presentation given at McLuhan 100 Conference in Toronto, Nov. 7, 2011

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  • reworking Mark Weiser’s (Xerox) statement: \n ‘The most profound technologies are those that disappear’\n
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  • Disruptive Innovations in Distribution: Who Owns the Screen?

    1. 1. Disruptive Innovations in Distribution: Who Owns The Screen? Siobhan O’Flynn, PhD CFC Media Lab University of Toronto
    2. 2. ‘Welcome to the New World of Distribution’ Peter Broderick, Sept. 2008 http://www.peterbroderick.com/writing/writing/welcometothenewworld.html 2
    3. 3. McLuhan:When new technologies impose themselves onsocieties long habituated to older technologies,anxieties of all kind result. (24-25)
    4. 4. Independent Distribution Strategies OR the arrival of new business models• Four-Eyed Monsters, 2005• filmmakers used video podcasts to promote• film free on YouTube & MySpace• 1 million+ views• $ through shared ad revenues• made US TV & home video distribution http://www.peterbroderick.com/writing/writing/welcometothenewworld.html
    5. 5. ‘audience development strategy’ audience dependent• core audience - film’s subject/genre• general audience• personal audience• how to connect? http://www.peterbroderick.com/writing/page20/maximizingdistribution.html
    6. 6. Iron Sky
    7. 7. IRON SKY-1st Trailer - 1,355,203 views YouTube - May 6 2008-21,394 fans on website & facebook - May 2008-$8.5 million budget /6.5 million euros-secured funding - close to 90% - May 2010-1st week May 2010 - invitation to invest in film - 75 people stated interest for a total of 120,000 euros // $147,000 US
    8. 8. audience dependent strategy- May 13 2010 - 2nd Trailer - 651,061 views- Wired magazine: micro-investments from 52 fans- 53627 fans - April 2011- requests for GLOBAL screenings- 60 in TO (May 2010); 123 in TO (Nov. 2011) http://www.peterbroderick.com/writing/writing/welcometothenewworld.html
    9. 9. crowdsourcing financing but $ is not the prioritycrowdsourcingas distribution
    10. 10. crowdsourcing aspromotion & distribution fans become patrons community promotes film project coexists with traditional marketing
    11. 11. The TunnelAustralian Production
    12. 12. Kevin Smith’sscarcity value model
    13. 13. http://site.dynamoplayer.com/
    14. 14. August 2011 http://www.youtube.com/watch?v=EJpSqeQbh4o
    15. 15. Premium VOD Is Doomed If This Piracy Study Is Correct: Pricewaterhousecoopers Study• 202 adults September 2010, pub Feb. 2011• 76% ‘willing to pay if closer to release date’• 83% will pay 1 month or less from release• pay no more than $3 to download a movie $1 for a TV program.• 81% will continue to download & stream• 40% will pirate on mobile devices http://www.pwc.com/us/en/industry/entertainment-media/assets/piracy-survey-summary-report-0111.pdf
    16. 16. DirectTV Premium VOD at $30 a rental. Seriously?• April 2011• available only to customers with the satellite companys HD DVRs, approx. 6 million people http://www.engadget.com/2011/04/19/directvs-30-per-rental-premium-video-on-demand-service-launche/
    17. 17. Major Studios driving 3DScarcity in access/location
    18. 18. Indies are innovating a social film‘played’ on facebook
    19. 19. how are audiences shaping content in 2011?
    20. 20. how will media shape content in 2015? in 2020?
    21. 21. Technology becomes really useful when it becomes invisible
    22. 22. Siobhan O’Flynn, PhD CFC Media Lab University of Toronto sioflynn@me.com @Sioflynn on Twitter website: siobhanoflynn.com

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