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The Pixel Lab 2015 | It's all about the money - Nuno Bernardo

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Well, not really. But if you want to be truly independent in your art and craft, you need to establish a business model that works for you and your company. Even in a world where audiences spend more time online than watching TV, financing digital and cross-media content is still a challenge.
The entertainment industry is still organised in a silo structure and new, experimental and creative projects struggle to get the necessary funding. To succeed producing cross-media you need to understand the limitations and the opportunities available, from searching for available funding at the right places, to combining traditional and new sources of financing and working with brands and advertisers, without ever forgetting the potential international market. In the last decade, Nuno Bernardo was able to finance and produce iconic cross-media projects, from Sofia’s Diary to Beat Girl, that got awards and recognition but also generated the important revenues.

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  • DOWNLOAD FULL BOOKS, INTO AVAILABLE FORMAT ......................................................................................................................... ......................................................................................................................... ,DOWNLOAD FULL. PDF EBOOK here { https://tinyurl.com/yyxo9sk7 } ......................................................................................................................... ,DOWNLOAD FULL. EPUB Ebook here { https://tinyurl.com/yyxo9sk7 } ......................................................................................................................... ,DOWNLOAD FULL. doc Ebook here { https://tinyurl.com/yyxo9sk7 } ......................................................................................................................... ,DOWNLOAD FULL. PDF EBOOK here { https://tinyurl.com/yyxo9sk7 } ......................................................................................................................... ,DOWNLOAD FULL. EPUB Ebook here { https://tinyurl.com/yyxo9sk7 } ......................................................................................................................... ,DOWNLOAD FULL. doc Ebook here { https://tinyurl.com/yyxo9sk7 } ......................................................................................................................... ......................................................................................................................... ......................................................................................................................... .............. Browse by Genre Available eBooks ......................................................................................................................... Art, Biography, Business, Chick Lit, Children's, Christian, Classics, Comics, Contemporary, Cookbooks, Crime, Ebooks, Fantasy, Fiction, Graphic Novels, Historical Fiction, History, Horror, Humor And Comedy, Manga, Memoir, Music, Mystery, Non Fiction, Paranormal, Philosophy, Poetry, Psychology, Religion, Romance, Science, Science Fiction, Self Help, Suspense, Spirituality, Sports, Thriller, Travel, Young Adult,
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The Pixel Lab 2015 | It's all about the money - Nuno Bernardo

  1. 1. IT’S ALL ABOUT THE MONEY Not Really!!!
  2. 2. Diário  de  Sofia  
  3. 3. Flatmates  
  4. 4. Cinema & Home Video Books & eBooks TV & FormatsInternet & Mobile Music & Soundtracks
  5. 5. 1.  FINANCING MODEL 2.  BUSINESS MODEL
  6. 6. Different Approaches •  The Indie Way •  The Hollywood Way •  The Artistic Way
  7. 7. The  Indie  /  European  Way  
  8. 8. The  Hollywood  Way  
  9. 9. The  Ar>s>c  Way  
  10. 10. What is funded by the industry? •  The Hollywood Way = Cross-media as a marketing investment •  The Artistic Way = The full project, sometimes as a co-production •  The Indie Way = The key platforms
  11. 11. How shows are picked? •  Netflix, Amazon or Google: They want numbers and talent (for PR: eg. House of Cards). •  Audience is more important than content: content is decided by algorithms: eg. Netflix + Adam Sandler. •  The New Digital Funds: decide based on Artistic Vision / Team or cultural merit. •  Advertisers: Talent and Numbers.
  12. 12. Funding  the  Indie  Way  
  13. 13. How producers do it? 1.  We try the traditional way: Film funds, Creative Europe funding, Broadcasters, Publishers. 2.  We expect them to pay the anchor content and, in some cases, the digital elements around it.
  14. 14. How producers do it? 3.  When it doesn’t succeed or we feel that we need extra money we usually go look for Private Equity and/or sponsorship/advertising money. 4.  Main problem: Advertisers want numbers, want distribution, want exposure and/or talent that they can spin on a Press Release. 5.  Advertisers have their own campaigns and timings.
  15. 15. When it doesn’t work? •  We adapt it / scale it down, or slowly give up. •  Or pick another project and do the same all over again.
  16. 16. The Risk Changes •  You need talent, you need numbers. •  Talent is expensive; numbers requires marketing and early investment. •  So risk taking is shifting from Sales Agents, Distributors and Broadcasters and given to Producers.
  17. 17. What is funded? •  The industry funds content pieces not the IP building (the numbers). •  But IP building is half producing content and half brand management, marketing and community building.
  18. 18. Research and Development Grants •  We approach most of the projects from the IP building perspective. •  We apply for research and development grants or state funding for SMEs so we could keep an in-house team developing and managing the projects.
  19. 19. beActive’s Approach Brand Management, Strategic Planning, Development, Community Management
  20. 20. 1.  FINANCING MODEL 2.  BUSINESS MODEL
  21. 21. Big  Brother  /  mul>plaBorm  
  22. 22. CONTEXT
  23. 23. CONTEXT  
  24. 24. CONTEXT  
  25. 25. ENGAGEMENT
  26. 26. CONTEXT  
  27. 27. CONTEXT  
  28. 28. COMMUNITY & BELONGING
  29. 29. COMMUNITY  &   BELONGING  
  30. 30. BEING HEARD
  31. 31. BEING  HEARD  
  32. 32. RELEVANCE
  33. 33. Stories and the cross-media approach give CONTEXT to an audience CONTEXT and PARTICIPATION increase ENGAGEMENT ENGAGEMENT promotes SHARING SHARING increases RELEVANCE Why you need a Cross-Media approach?
  34. 34. Experience ContextNeed Status Why audiences buy content?
  35. 35. Where are the revenues? •  Commissions: produce for someone. •  License it internationally: other producers, broadcasters, publishers, etc. •  On-line video / On-line content: advertising, ads, endorsement, etc. •  Sell to consumer: Crowdfunding, App Stores, VoD services, eBook Stores, Music Stores.
  36. 36. Self-Publishing: Now and Then •  Self-publishing was always an alternative to rejected talent: filmmakers, musicians, authors, etc. •  Now, it can be not a last resort but a legit way to serve content to your audience. •  Marketing it’s just key and essential, but digital platforms, existing digital communities and social media made it easier for hardworking people.
  37. 37. Road to Revolution
  38. 38. Road  to  Revolu>on  
  39. 39. So it’s up to you to… Create Context Engage Be Relevant Generate Value
  40. 40. @nmfbernardo www.facebook.com/nmfbernardo www.facebook.com/transmediaguide www.beactivemedia.com

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