2.
Roadmap to the Future of Docs Session One: Inventing the Future of the Documentary Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]

4.

5.
Old World $

6.
Old World $ <ul><li>Play festival </li></ul>

7.
Old World $ <ul><li>Play festival </li></ul><ul><li>Sell to distributor/broadcaster (s) </li></ul>

8.
Old World $ <ul><li>Play festival </li></ul><ul><li>Sell to distributor/broadcaster (s) </li></ul><ul><li>Advance </li></ul><ul><li>Percentage of revenues </li></ul>

9.
Old World $ <ul><li>Play festival </li></ul><ul><li>Sell to distributor/broadcaster (s) </li></ul><ul><li>Advance </li></ul><ul><li>Percentage of revenues </li></ul><ul><li>They sell to audience </li></ul>

10.
Old World $ <ul><li>Play festival </li></ul><ul><li>Sell to distributor/broadcaster (s) </li></ul><ul><li>Advance </li></ul><ul><li>Percentage of revenues </li></ul><ul><li>They sell to audience </li></ul><ul><li>Who pays for the film </li></ul>

11.
Old World $ <ul><li>Play festival </li></ul><ul><li>Sell to distributor/broadcaster </li></ul><ul><li>Advance </li></ul><ul><li>Percentage of revenues </li></ul><ul><li>They sell to audience </li></ul><ul><li>Who pays for the film </li></ul><ul><li>$ to distributor </li></ul><ul><li>$ to filmmakers </li></ul><ul><li>$ to investors </li></ul>

12.
Old World $ MYTH <ul><li>Play festival </li></ul><ul><li>Sell to distributor/broadcaster </li></ul><ul><li>Advance </li></ul><ul><li>Percentage of revenues </li></ul><ul><li>They sell to audience </li></ul><ul><li>Who pays for the film </li></ul><ul><li>$ to distributor </li></ul><ul><li>$ to filmmakers </li></ul><ul><li>$ to investors </li></ul><ul><li>Everyone is happy.... </li></ul>

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...

22.
Disruptive Innovation <ul><li>Disruptive technology and disruptive innovation are terms used in business and technology literature to describe innovations that improve a product or service in ways that the market does not expect, typically by being lower priced or designed for a different set of consumers. </li></ul><ul><li>Clayton Christensen via Wikipedia </li></ul>

23.
It’s not until the tide goes out until you see who’s wearing the swim trunks - Warren Buffett

27.
Value has changed.

28.
Old World Value: Scarcity New World Value: Overabundance

30.
Attention Economy

31.
The people formerly known as the audience

32.
Engagement

33.
Participatory Culture <ul><li>A Conversation </li></ul>

34.
Langworthy & Henein Vanishing of the Bees

35.
<ul><li>Twitter Stats (via Twitter) </li></ul><ul><li>106 Million registered users </li></ul><ul><li>55 Million Tweets per Day </li></ul><ul><li>460,000+ new sign-ups per day </li></ul><ul><li>60% of new accounts were from outside the U.S. </li></ul><ul><li>600 million search queries per day </li></ul><ul><li>185% increase in mobile usage </li></ul><ul><li>Officially blocked in China </li></ul>

36.
<ul><li>Social Media in Israel (via ComScore) </li></ul><ul><li>2nd Most Usage of Social Networks in the world </li></ul><ul><li>89.8% of Israeli Internet Users are on Facebook (also 2nd highest in the world) </li></ul><ul><li>Avg time spent online - 38.3 Hrs/Month </li></ul><ul><li>This is 60% greater than world avg (24) </li></ul>

38.
Zoe Keating @ZoeCello 1.38 million followers on Twitter

39.
Building Community <ul><li>Friends & Fans </li></ul>

40.
www.ironsky.net

41.
www.ironsky.net

42.
www.ironsky.net

43.
crowdcontrols.cc

45.
CrowdSourcing <ul><li>Turning Community into Funders </li></ul>

47.
<ul><li>$10 - Unpolished Rock (but with potential) Level: A free digital download of the album, when it's released. </li></ul><ul><li>$25 - Polished Rock Level : An advance copy of the CD. Weeks before the masses. </li></ul><ul><li>$2,500 - Emerald Level : Mentioned as an executive producer of the album -- whoop-di-doo! </li></ul><ul><li>$ 5,000 - Diamond Level : I will come and do a house concert for you. Invite your friends, serve some drinks, bring me out and I sing. Actually, this level is a smart choice economically. I've played many house concerts where the host has charged his guests and made his money back. I'd go for this if I were you. </li></ul><ul><li>$10,000 - Weapons-Grade Plutonium Level: You get to come and sing on my CD. Don't worry if you can't sing - we can fix that on our end. Also, you can always play the cowbell. </li></ul>Details from Jill’s Next Record website

48.
thecosmonaut.org

49.
thecosmonaut.org

50.
Urbanized on KickStarter

51.
Urbanized on KickStarter

52.
Ai WeiWei: Never Sorry on KickStarter

53.
TheAgeofStupid.Net

54.
Convenience & Immediacy Immediacy

55.
Multi-Platform <ul><li>Agnostic, Viral & Mobile </li></ul>

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

60.
Free <ul><li>(Plus Fee) </li></ul>

61.
Generatives <ul><li>Immediacy </li></ul><ul><ul><li>Give them something now </li></ul></ul><ul><li>Personalization </li></ul><ul><ul><li>To their needs </li></ul></ul><ul><li>Interpretation </li></ul><ul><ul><li>With study guide, or commentary </li></ul></ul><ul><li>Authenticity </li></ul><ul><ul><li>From you directly, signed by you, </li></ul></ul><ul><ul><li>an authentic experience (not duplicable, an event) </li></ul></ul><ul><li>Embodiment </li></ul><ul><li>Speaking fees, performance </li></ul><ul><li>Patronage </li></ul><ul><li>Support the artist; Radiohead model </li></ul><ul><li>Accessibility </li></ul><ul><li>Make it easy to get; convenient </li></ul><ul><li>Findability </li></ul><ul><li>Work with partners who make you findable </li></ul>Kevin Kelly: Better than Free

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

66.
Multiple Access Points

67.
Multiple Access Points Covered next, in Part Two

68.
Authenticity

69.
Gary Hustwit: Objectified

70.
Localism

71.
Reward

72.
<ul><li>80 million+ Facebook users actively participate in social gaming </li></ul><ul><li>118 million+ users have installed Farmville </li></ul><ul><li>Women participate more frequently than men, according to a survey by PopCap Games (55 percent vs. 45 percent). The survey also found: </li></ul><ul><ul><li>Female social gamers are more likely to play social games multiple times a day (38 percent vs. 29 percent) </li></ul></ul><ul><ul><li>Female social gamers are more likely to play with people they know (68 percent vs. 56 percent) </li></ul></ul><ul><ul><li>Male social gamers are more likely to play with strangers (41 percent vs. 33 percent) </li></ul></ul><ul><ul><li>28 percent of social gamers have purchased game points/currency for real-world money </li></ul></ul><ul><ul><li>More than 50 percent of social gamers began playing because of a friend's gaming or recommendation </li></ul></ul>Social Games

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

79.
New World of Possibilities Possibilities New Directions & Methods

80.
Or the Status Quo... <ul><li>Play festival </li></ul><ul><li>(limited) Television </li></ul><ul><li>(limited) Theatrical </li></ul><ul><li>(limited) DVD </li></ul><ul><li>(limited) VOD </li></ul><ul><li>Stuck on Shelf </li></ul><ul><li>Limited audience engagement </li></ul>

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)

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]

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]

92.
Multiple Access Points

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

103.
Monetizing It <ul><li>Now </li></ul>

104.
Market Conditions Established Practices/Incumbent Players + + = Fear Less Experimentation

105.
Photo Credit: FFFFound

106.
NEW + OLD

107.
Embrace Multi-modality <ul><li>In biz plan </li></ul>

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

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.

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....

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

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

121.
Audience Engagement

123.
<ul><li>In 2008, along with the release of the book Groundswell: Winning in a World Transformed by Social Technologies , Forrester Research released a “social technographics” profile tool to help businesses understand the way different audiences engage with social media online. The researchers grouped participatory online audiences into six categories by activity: </li></ul><ul><li>Creators (24%) who produce content, upload videos, write blogs </li></ul><ul><li>Critics (37%) who submit reviews, rate content, and comment on social media sites </li></ul><ul><li>Collectors (21%) who organize links and aggregate content for personal or social consumption </li></ul><ul><li>Joiners (51%) who maintain accounts on social networking sites like Facebook and LinkedIn </li></ul><ul><li>Spectators (73%) who read blogs, watch YouTube videos, visit social sites </li></ul><ul><li>Inactives (18%) who don’t visit social sites </li></ul><ul><li>These percentages add up to more than one hundred percent because the categorizations are fluid and many people fall into several categories at once. </li></ul><ul><li>source: http://www.participatorymuseum.org/chapter1/ </li></ul>

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]

128.
Roadmap to the Future of Docs Session Three: Workshop on your Projects Brian Newman springboardmedia.blogspot.com @bnewman01

130.
Roadmap to the Future of Docs End of Day Brian Newman springboardmedia.blogspot.com @bnewman01 [email_address]