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Shooting People Engage101

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My presentation for Shooting People and DCTV on distribution and engaging audiences. A new presentation with some mixed older materials and some very new stuff summarizing how to think about transmedia.

Published in: Entertainment & Humor
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  • Hey cosmonaut, I wouldn't mention you if you weren't doing great work!
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  • Hey Brian, good work! Very detailed and comprehensive vision of the subject. Thanks for mentioning us by the way :)
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  • Hi Brian: thanks again for a very insightful evening. Since it was all about distribution it can repeat it for a while i think...
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Shooting People Engage101

  1. 1. Engage 101: Audience Building & Distribution & Distribution & Distribution
  2. 2. Distribution 101
  3. 3. Distribution 101 Traditional Distribution “ Old World” model
  4. 4. Old World $
  5. 5. Old World $ <ul><li>Play festival </li></ul>
  6. 6. Old World $ <ul><li>Play festival </li></ul><ul><li>Sell to distributor/broadcaster (s) </li></ul>
  7. 7. 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>
  8. 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><ul><li>They sell to audience </li></ul>
  9. 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><ul><li>Who pays for the film </li></ul>
  10. 10. 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>
  11. 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><ul><li>Everyone is happy.... </li></ul>
  12. 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. 13. Old World $ Play festival Maybe
  14. 14. Old World $ Play festival Maybe Sell to distributor/broadcaster(s) Maybe – forever, everywhere
  15. 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. 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. 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. 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. 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. 20. $
  21. 21. Not New
  22. 22. Distributors aren’t (usually) ripping you off.
  23. 23. Distribution 101 Traditional Distribution “ Old World” model
  24. 24. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model
  25. 25. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model
  26. 26. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model
  27. 27. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model Service Deal Passion of Christ model
  28. 28. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model Service Deal Passion of Christ model Self Distribution Four-Eyed Monsters model
  29. 29. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model Service Deal Passion of Christ model Self Distribution Four-Eyed Monsters model Hybrid Distribution Peter Broderick “New World” model
  30. 30. New World/Hybrid $
  31. 31. New World/Hybrid $ You own rights Split rights Partner for exploitation You keep more $
  32. 32. New World/Hybrid $ You own rights Split rights Partner for exploitation You keep more $ ......(in theory)
  33. 33. Rights & Terms Theatrical Non-theatrical Educational Ancillary Home Video Broadcast Online VOD (rental), EST (purchase) Piracy/Peer to Peer Foreign Mobile Event/alternatives MG Minimum Guarantee/Advance Exclusivity/Non Term Territories/markets Cross-collateralization Marketing/ P&A Commitments Windows Day and Date
  34. 34. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model Service Deal Passion of Christ model Self Distribution Four-Eyed Monsters model Hybrid Distribution Peter Broderick “New World” model
  35. 35. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model Service Deal Passion of Christ model Self Distribution Four-Eyed Monsters model Hybrid Distribution Peter Broderick “New World” model Audience Development Jon Reiss model
  36. 36. 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 Start before finished - the new 50/50 Build core audience Social Media Transmedia
  37. 37. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model Service Deal Passion of Christ model Self Distribution Four-Eyed Monsters model Hybrid Distribution Peter Broderick “New World” model Audience Development Jon Reiss model
  38. 38. Distribution 101 Traditional Distribution “ Old World” model Educational Distribution New Day Films model Non-theatrical Distribution Working Films model Aggregators IndieFlix model Service Deal Passion of Christ model Self Distribution Four-Eyed Monsters model Hybrid Distribution Peter Broderick “New World” model Audience Development Jon Reiss model Make Your Own Model - evaluate your Plan A vs. other Plan B (s)
  39. 39. Photo Credit: FFFFound
  40. 40. CwF + RtB = $$$ Mike Masnick, TechDirt
  41. 41. CwF + RtB = $$$ Mike Masnick, TechDirt Connect with fans, give them a reason to buy, and make money.
  42. 42. How?
  43. 46. Participatory Culture <ul><li>A Conversation </li></ul>
  44. 47. Langworthy & Henein Vanishing of the Bees
  45. 49. Usage by Age Group US and Int’l Growth Twitter
  46. 50. US and Int’l Growth thanks to Oprah Source: ComScore
  47. 51. Zoe Keating @ZoeCello 1.13 million followers on Twitter
  48. 52. Participatory Culture <ul><li>A real, authentic conversation </li></ul>
  49. 59. Building Community <ul><li>Friends & Fans </li></ul>
  50. 60. www.meetup.com
  51. 61. www.foureyedmonsters.com
  52. 62. www.foureyedmonsters.com
  53. 63. crowdcontrols.cc
  54. 64. CrowdSourcing <ul><li>Turning Community into Funders </li></ul>
  55. 66. <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
  56. 68. <ul><li>$500 (limited edition of 15) -- 5 Sold! Only 10 left! </li></ul><ul><li>Signed CD/DVD and digital download </li></ul><ul><li>T-shirt </li></ul><ul><li>Signed Cymbal and sticks </li></ul><ul><li>Meet me in Venice, CA and we go floating in a Sensory </li></ul><ul><li>Deprivation Tank (filmed and posted on youtube). </li></ul><ul><li>*Dinner at Sizzler (get your $8.99 Steak and &quot;all you can eat&quot; </li></ul><ul><li>Shrimp on) </li></ul>Details from Josh Freese website
  57. 69. www.indiegogo.com
  58. 72. www.kickstarter.com
  59. 76. Participatory II. <ul><li>A Viral Video Conversation </li></ul>
  60. 82. Multi-Platform <ul><li>Agnostic and Viral </li></ul>
  61. 85. Sally Potter’s Rage
  62. 86. McAbee: Stingray Sam
  63. 88. Free <ul><li>(Plus Fee) </li></ul>
  64. 91. 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><li>Embodiment </li></ul><ul><li>Speaking fees </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>From Kevin Kelly’s: Better Than Free
  65. 92. Cross-Platform <ul><li>Cross-Media, Transmedia </li></ul>
  66. 94. Transmedia Develop the story across multiple entry points Multi-platform Types/examples: Deep audience engagement Events Target for amenable audiences Games/ARG Audience can become immersed in experience Interactive components Each element a distinctive experience Graphic Novels Story flows & builds rev streams Online & viral content Should start before the film is done (dev best) Think Outside the norms - experiences Encourages participatory audiences May need a team
  67. 95. Transmedia Keep a mind towards audience dev. components from the beginning Some Experts: Think beyond marketing Christy Dena It’s not all about the film - extend the experience Stephen Dinehart (coined) Think about impact & social change Jeff Gomez Not just games.... events, gallery shows, etc. Henry Jenkins Some projects may not need to be a film Mike Monello ...or can become one if successful John Threat Transmedia can be simple Lance Weiler Many more
  68. 96. Thomas Allen Harris: Through a Lens Darkly
  69. 97. Olds & Scott: Occupation Dreamland
  70. 98. Quick Summary Identify Core audience & build fan base Use social media & new tools Engage in the conversation - make it participatory and real Start early Build your Plan A CWF + RtB Engage audience - transmedia
  71. 100. Blog: www.springboardmedia.blogspot.com Email: bnewman001@gmail.com Twitter: @bnewman01

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