A special marketing training session for the film exhibitors of the Highlands and Moray. Includes three case studies; Cromarty and Resolis Film Society and Cromarty Film Festival, Universal Hall, and Kingussie Food on Film Festival.

1. Highlands and Moray Exhibitors
Forum:
Marketing Special

2. Sian Jamieson
HI-Arts Audience Development Coordinator
I provide audience development support for the various HI-
Arts projects and project coordinators.
I also works with cultural and arts organisations and groups
to provide advice, information and support to evolve their
marketing and audience development activities.
sian@hi-arts.co.uk
@HIArtsAudiences
www.facebook.co.uk/HIArtsAudienceDevelopment
www.sianjamieson.wordpress.com

3. RSS Exhibitors Forum Marketing Special
Case Studies:
•The Cromarty and Resolis Film Society and
Cromarty Film Festival
• Universal Hall
• Kingussie Food and Film.
Topics:
• Understanding who your audience is.
• Operating a cost-effective marketing
strategy.
• Generating press coverage.

4. Case Study One: Cromarty and Resolis Film Society & the Cromarty Film Festival
Cromarty and Resolis Film Society Cromarty Film Festival
• Voluntary group of 7 members • Voluntary group of 7 members
• Monthly screenings • Annual 3 day film festival in December
• Posters, email alerts, website • 5 to 6 locations
information
• 2009 themed programme
• Paid-up membership of 30 people
• Eclectic mix of film from around the
• General attendance 60 people world
• Attendance benefits from interested • 30 to 40 films
passers-by.
• Local market (up to 20mile radius)
• 50% capacity achieved in last 3 years.

5. Cromarty Film Festival 2009
‘My Favourite Film’ Festival
• Personalities from within the film industry are invited to
screen their favourite films and speak on them.
• Festival Programme includes children’s films,
documentaries, Gaelic aspect, lectures, Scottish Archive films,
special workshops, film student input, silent film and Classic
Couthy Scottish films.
• External screening to preview
the work of young Scottish film
makers.
• Attraction: The combination
to meet and listen to luminaries
from the film world.
• See and experience rare or
seldom seen film in the setting
of a small picturesque town.

6. Setting Marketing or Audience Development Objectives
Cromarty Film Festival Marketing
S – Specific Objective #1 (October 2010)
M – Measurable
To increase attendance at the 2011 Film
Festival by 20% through marketing and
A – Achievable audience development. (approx. 400
people)
R – Relevant
T – Timebound Cromarty Film Festival Marketing
Objective #2 (October 2010)
To increase attendance at the 2011 Film
Festival by a further 5% through
partnership working and collaboration
with local interest groups. (approx. 100
people)

7. Your Audience?
Profile One: Profile Two: Profile Three:
• ‘Teenagers’ •‘Immediate and local • ‘Local’
community’
• ‘All ages of adults’ • ‘Walk-ins’/‘Passers by’
• ‘Older age groups’
• ‘Adults and children’ • ‘A wide range of age
• ‘Interested in films with an groups.’
• ‘Young families’ eco message.. or personal
• ‘More women than development’
men’ • ‘Enjoys romcoms…more than
• ‘Local people’. action thrillers’.

8. Segmentation: ‘Lifestage’ and ‘Attitude’
Lifestage characteristics
For example:
Teens (over 16 years)
Teens/ singles/ couples (over 25
years)
Young families
Older families
Retired
Attitude characteristics
Cinema enthusiasts/ regulars
Socialites ‘There’s nothing else to
do’
Reluctant
Non-Attenders

9. Segmentation: The ‘Film Journey’
Early Years: Teenage Years: Early Adulthood:
Film as entertainment Film as identity Film as culture
Mainstream films that Film choice influenced Beginnings of critical
stimulate an interest by trusted opinion appreciation.
formers.

10. Segmentation: Attitudinal Film Goers
•Destination Attender
•Red Carpet Followers
•Couch Critic
•A-List Actors
•Oscar Winners
•Trivia Trailers
Risk Takers – Cautious Gamblers – Safety First

11. Barriers to Attendance
• Group Composition
• Mental and Physical
Energy
• Location
• Deals and Events

12. What do you need to determine your segments?
Audience Data
Attendance figures in relation to each film.
Age, gender and postcode.
Frequency of Attendance.
At the point of booking
Where did you hear about us?
Who are you attending with today?
Why did you select this particular film?
After the film
Did they enjoy the film?
Would they come again?
What other films did they see?
What did they think could be improved?

14. Area Profiles

17. Auditing Your
Marketing

18. Case Study Two: Universal Hall
Universal Hall
• Organisation promoting film, theatre, music,
dance and other events.
• 350 seat theatre.
• Based in the Findhorn Eco-village and
Community.
• 4 members of staff.
• Blu-Ray and DVD screenings.
• Local audience.
• Screening films based on audience interest; including foreign subtitled, children’s,
‘issue’ films – eco messages or films about personal development.
• Recognise that audiences do not like violent or horror films.
• 180 people for documentary ‘Edge of Dreaming’.
• Email, websites, listings, posters, local press advertising, contacting local interest
groups.

19. Universal Hall
• Aim is to promote a variety of events and keep Universal
Hall a regional venue of significance in the arts.
• Screening of ‘Issue’ based films has been successful. Amy
Hardie’s ‘Edge of Dreaming’ (‘Best of Fest’ from 2010 EIFF)
approach Universal Hall to screen the film and talk to the
audience. Achieved an audience of 180 people.
• Partnered with Co-op educational services to present the
political film Burma VJ, and show ecological based films.
• A more international community on their door-step, do
better then average with foreign and sub-titled films.
• An annual New Years day screening for the local Findhorn
Community is very successful.
• Film programme has benefited from the facilities upgrade, a
bigger screen and quality projection and sound has added to
the value and benefit of attending Universal Hall for film.

20. Setting Marketing or Audience Development Objectives
Universal Hall Film Programme Marketing
S – Specific Objective #1 (October 2010)
To monitor and evaluate the current
M – Measurable marketing strategy towards developing a
more cost efficient marketing strategy.
A – Achievable
Universal Hall Film Programme Marketing
R – Relevant Objective #2 (October 2010)
T – Timebound To increase engagement of Universal Hall
audiences in theatre, music and dance
with the film programme by 20%.

21. Cost Efficient Marketing
Programme + Techniques + Time + attendance
+ feedback
= Impact and Efficiency

22. Cost Efficient Marketing

23. Growing Your Audience
• Understanding who they are and
what their interests are.
• Using the data you already have.
• Utilising your Customer
Relationship Management system.
• Targeted Marketing
• Incentives
• Strategic Programming
• Talking to your audience.

24. Case Study Three: Kingussie Food on Film
Kingussie Food on Film
• Community group with a committee of 5 and works in partnership with other organisations.
• An annual winter film festival, with an emphasis on films related to food, includes a Food Market
and celebrity chef.
• Make short films with children and food producers.
• Organise the Highland Youth Award for Short Food Films and Oscar Night.
•Use film as an educational tool through working with schools, both screening and making short
films.
• Film making workshop run in September for High Schools to make films for competition (run by
Triple Echo Productions).
• Audience: Local adults, teenagers, individuals involved in the film making, families, more women
than men, an increasing number from the central belt, across Scotland and England.
• emails, newsletters, working in partnership with local groups, free family tickets to Primary
School competition winners, press releases, local radio, posters and flyers, twitter.
• Tried feedback forms and prefer conversations.

25. Kingussie Food on Film • Founded with the aim of delivering an
annual winter film festival where all films are
food related.
• Food is incorporated as an integral part of
the festival in a creative and inclusive way.
• To use films particularly but not exclusively
about food as an educational tool through
working with schools, both screening and
making films.
• A film making workshop is run each
September to encourage High Schools to
make short films for the Food on Film
competition.
• Oscar Night very successful including an
audience of 120 people, 7 high schools were
represented and film industry judges in
attendance.
• Marketing: focuses on working in
partnership to encourage participation.

26. Engaging the Community
The full involvement of groups, individuals
Participation and organisation in all aspects of planning
and delivery.
The occasional participation of groups,
HIGH Involvement individuals and organisations in some
aspects of partnership planning and delivery.
Gathering the views and comments of
Consultation individuals, groups and organisations on
planning and delivery.
Active – meetings, presentations etc.
LOW Communicating Passive – leaflets, newsletters etc.
Information Informing individuals, groups and
organisations on planning and delivery.

29. Setting Marketing or Audience Development Objectives
Kingussie Food on Film Festival Marketing
S – Specific Objective #1 (October 2010)
To secure a preview article promoting the
M – Measurable Food on Film Festival in the Scotsman one
week before the start of the Festival.
A – Achievable
Kingussie Food on Film Festival Marketing
R – Relevant Objective #2 (October 2010)
T – Timebound To secure a feature/ review of the Food on
Film Festival and Highland Youth Award
for Short Food Films in the Scotland on
Sunday a week after the Festival ends.

30. Securing Press and Media Coverage
What type of coverage do you want?
• To generate attendance
• To raise your profile
• To give the event coverage.
WHAT IS THE STORY?
Know who you are sending your Press
Releases to.
Maximise through the web and social
networking.

31. Example: Lammermuir Festival

33. 8 Tips for Generating Press Coverage
• Offer REAL news
• Try a LOCAL angle.
• Give them an IRRESISTABLE story.
• Make it EASY.
• Send your press release to the RIGHT PEOPLE.
• Identify key reporters and build RELATIONSHIPS.
• Include PHOTO’s.
• Say THANK YOU.

34. OBJECTIVES
DATA COLLECTION
UNDERSTANDING
PLANNING
MONITORING
FEEDBACK
IMPACT