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Disruptive Innovations in Distribution:

      Who Owns The Screen?

          Siobhan O’Flynn, PhD
             CFC Media Lab
            University of Toronto
‘Welcome to the New World of Distribution’
       Peter Broderick, Sept. 2008




                   http://www.peterbroderick.com/writing/writing/welcometothenewworld.html
                       2
McLuhan:
When new technologies impose themselves on
societies long habituated to older technologies,
anxieties of all kind result. (24-25)
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
‘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
Iron Sky
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
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
crowdsourcing
                         financing
                  but $ is not the priority




crowdsourcing
as distribution
crowdsourcing as
promotion & distribution

         fans become patrons
  community promotes film project
  coexists with traditional marketing
The Tunnel
Australian Production
Kevin Smith’s
scarcity value model
http://site.dynamoplayer.com/
August 2011




              http://www.youtube.com/watch?v=EJpSqeQbh4o
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
DirectTV Premium VOD at $30 a rental.
                    Seriously?

• April 2011
• available only to customers with the satellite
   company's HD DVRs, approx. 6 million people




                        http://www.engadget.com/2011/04/19/directvs-30-per-rental-premium-video-on-demand-service-launche/
Major Studios driving 3D
Scarcity in access/location
Indies are innovating
     a social film
‘played’ on facebook
how are audiences shaping content in
               2011?
how will media shape content in 2015?
              in 2020?
Technology becomes really useful when it
          becomes invisible
Siobhan O’Flynn, PhD
  CFC Media Lab
 University of Toronto

     sioflynn@me.com
   @Sioflynn on Twitter
 website: siobhanoflynn.com

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Disruptive Innovations in Distribution: Who Owns the Screen?

  • 1. Disruptive Innovations in Distribution: Who Owns The Screen? Siobhan O’Flynn, PhD CFC Media Lab University of Toronto
  • 2. ‘Welcome to the New World of Distribution’ Peter Broderick, Sept. 2008 http://www.peterbroderick.com/writing/writing/welcometothenewworld.html 2
  • 3. McLuhan: When new technologies impose themselves on societies long habituated to older technologies, anxieties of all kind result. (24-25)
  • 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. ‘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
  • 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. 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. crowdsourcing financing but $ is not the priority crowdsourcing as distribution
  • 10. crowdsourcing as promotion & distribution fans become patrons community promotes film project coexists with traditional marketing
  • 14. August 2011 http://www.youtube.com/watch?v=EJpSqeQbh4o
  • 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. DirectTV Premium VOD at $30 a rental. Seriously? • April 2011 • available only to customers with the satellite company's HD DVRs, approx. 6 million people http://www.engadget.com/2011/04/19/directvs-30-per-rental-premium-video-on-demand-service-launche/
  • 17. Major Studios driving 3D Scarcity in access/location
  • 18. Indies are innovating a social film ‘played’ on facebook
  • 19. how are audiences shaping content in 2011?
  • 20. how will media shape content in 2015? in 2020?
  • 21. Technology becomes really useful when it becomes invisible
  • 22. Siobhan O’Flynn, PhD CFC Media Lab University of Toronto sioflynn@me.com @Sioflynn on Twitter website: siobhanoflynn.com

Editor's Notes

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  21. reworking Mark Weiser’s (Xerox) statement: \n ‘The most profound technologies are those that disappear’\n
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