docaviv - roadmap to the future of docs
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Roadmap to the Future of Docs
Session One:Inventing the Future of the Documentary
Brian Newman springboardmedia.blogspot.com @bnewman01
bnewman001@gmail.com
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Old World $
Old World $• Play festival
Old World $• Play festival
• Sell to distributor/broadcaster (s)
Old World $• Play festival
• Sell to distributor/broadcaster (s)
• Advance
• Percentage of revenues
Old World $• Play festival
• Sell to distributor/broadcaster (s)
• Advance
• Percentage of revenues
• They sell to audience
Old World $• Play festival
• Sell to distributor/broadcaster (s)
• Advance
• Percentage of revenues
• They sell to audience
• Who pays for the film
Old World $• Play festival
• Sell to distributor/broadcaster
• Advance
• Percentage of revenues
• They sell to audience
• Who pays for the film
• $ to distributor
• $ to filmmakers
• $ to investors
Old World $
MYTHMYTH
• Play festival
• Sell to distributor/broadcaster
• Advance
• Percentage of revenues
• They sell to audience
• Who pays for the film
• $ to distributor
• $ to filmmakers
• $ to investors
• Everyone is happy....
Old World $Play festival Maybe
Old World $Play festival Maybe
Sell to distributor/broadcaster(s) Maybe – forever, everywhere
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
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
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
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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
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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
But it gets worse...
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Disruptive Innovation
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.
Clayton Christensen via Wikipedia
It’s not until the tide goes out until you see who’s wearing the swim trunks
- Warren Buffett
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Value has changed.
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Old World Value:
Scarcity
New World Value:
Overabundance
30
Attention Economy
The people formerly known as the audience
32
Engagement
33
Participatory Culture
A Conversation
Twitter Stats (via Twitter)
•106 Million registered users
•55 Million Tweets per Day
•460,000+ new sign-ups per day
•60% of new accounts were from outside the U.S.
•600 million search queries per day
•185% increase in mobile usage
•Officially blocked in China
Social Media in Israel (via ComScore)
•2nd Most Usage of Social Networks in the world
•89.8% of Israeli Internet Users are on Facebook (also 2nd highest in the world)
•Avg time spent online - 38.3 Hrs/Month
•This is 60% greater than world avg (24)
Zoe Keating @ZoeCello 1.38 million followers on Twitter
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Building Community
Friends & Fans
CrowdSourcing
Turning Community into Funders
• $10 - Unpolished Rock (but with potential) Level: A free digital download of the album, when it's released.
• $25 - Polished Rock Level: An advance copy of the CD. Weeks before the masses.
• $2,500 - Emerald Level: Mentioned as an executive producer of the album -- whoop-di-doo!
• $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.
• $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.
Details from Jill’s Next Record website
Urbanized on KickStarter
Urbanized on KickStarter
Ai WeiWei: Never Sorry on KickStarter
TheAgeofStupid.Net
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Convenience &Immediacy
Multi-Platform
Agnostic, Viral & Mobile
Mobile
Sally Potter’s RageFirst Movie Premiering Day/Date at a Festival and on Mobile
Phil Cox, Giovanna Stopponi and Annie Sundberg:Bengali Detective
12 Episodes online/mobile in advance of Sundance Premiere
Free
(Plus Fee)
Generatives
• Immediacy– Give them something now
• Personalization– To their needs
• Interpretation– With study guide, or commentary
• Authenticity– From you directly, signed by you,– an authentic experience (not
duplicable, an event)
• Embodiment– Speaking fees, performance
• Patronage– Support the artist; Radiohead model
• Accessibility– Make it easy to get; convenient
• Findability– Work with partners who make you
findable
Kevin Kelly: Better than Free
Zenith on Vo.DoTraditional Distributor chose to release
episodic content as chapters, for free, on Vo.Do
Short
Old Paradigm’s Delivery MethodsForced Certain Artistic Decisions
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Multiple Access Points
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Multiple Access Points
Covered next, in Part Two
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Authenticity
Localism
Reward
• 80 million+ Facebook users actively participate in social gaming
• 118 million+ users have installed Farmville
• Women participate more frequently than men, according to a survey by PopCap Games (55 percent vs. 45 percent). The survey also found:
– Female social gamers are more likely to play social games multiple times a day (38 percent vs. 29 percent)
– Female social gamers are more likely to play with people they know (68 percent vs. 56 percent)
– Male social gamers are more likely to play with strangers (41 percent vs. 33 percent)
– 28 percent of social gamers have purchased game points/currency for real-world money
– More than 50 percent of social gamers began playing because of a friend's gaming or recommendation
Social Games
Creating context is more important than creating content.
The greatest creative and business opportunities are everything around the content
Taylor Davidson
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Data
New World ofPossibilities
New Directions & Methods
Or the Status Quo...
• Play festival
• (limited) Television
• (limited) Theatrical
• (limited) DVD
• (limited) VOD
• Stuck on Shelf
• Limited audience engagement
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.
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
New World/Hybrid $You own rights
Split rights
Partner for exploitation
You keep more $
New World/Hybrid $You own rights
Split rights
Partner for exploitation
You keep more $......(in theory)
Rights & TermsTheatrical 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
Audience DevelopmentYour 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
From Jon Reiss: Think Outside the Box Office
Make Your Own Model -
evaluate your Plan A vs. other Plan B(s)
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
bnewman001@gmail.com
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
bnewman001@gmail.com
92
Multiple Access Points
TransmediaWhat it is: Types/examples:Develop the story across multiple entry points
Events
Multi-platform Games/ARGAudience can become immersed in experience
Interactive components/Augmented Reality
Deep audience engagement Graphic NovelsEncourages participatory audiences
Online & viral content
Each element a distinctive experience
Mobile
Story flows & builds rev streams
Think Outside the norms - experiences
TransmediaQuick 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...
David Dufresne and Philippe Brault: Prison ValleyCase Study on SlideShare
Thomas Allen Harris: Through a Lens DarklyVideo of Experience
Olds & Scott: Occupation Dreamland
Monetizing It
Now
Market Conditions
Established Practices/Incumbent Players
+
+
=
Fear
Less Experimentation
NEW + OLD
Embrace Multi-modality
In biz plan
StoryKey Components CharactersWhat are hooks? RideWhy watch? MomentsWhy keep watching? PlotHow 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
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.
Multi-Modal Practices
Theatrical EventsNontheatrical (incl. fests) GamesEducational ARGBroadcast InteractiveDVD ExperiencesVOD/EST AppsOnline + Viral Content MarketingPiracy/Peer to Peer PRTerritories PrintMobile/Portable Devices MerchandiseWindows Other....
Platforms
AUDIENCE
Multi-Modal Practices
Theatrical EventsNontheatrical (incl. fests) GamesEducational ARGBroadcast InteractiveDVD ExperiencesVOD/EST AppsOnline + Viral Content MarketingPiracy/Peer to Peer PRTerritories PrintMobile/Portable Devices MerchandiseWindows Other....
Platforms
Multi-Modal Practices
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....
Business/Finance Models
Each platform will probably have multiple business models
ExecutionWho 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
Audience Engagement
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:
1.Creators (24%) who produce content, upload videos, write blogs
2.Critics (37%) who submit reviews, rate content, and comment on social media sites
3.Collectors (21%) who organize links and aggregate content for personal or social consumption
•Joiners (51%) who maintain accounts on social networking sites like Facebook and LinkedIn
•Spectators (73%) who read blogs, watch YouTube videos, visit social sites
1.Inactives (18%) who don’t visit social sites
These percentages add up to more than one hundred percent because the categorizations are fluid and many people fall into several categories at once.
source:http://www.participatorymuseum.org/chapter1/
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.
The best way to predict the future is to invent itAlan Kay
Roadmap to the Future of Docs
End of Session Two:Transmedia Practice –Q&A and Discussion
Brian Newman springboardmedia.blogspot.com @bnewman01
bnewman001@gmail.com
Roadmap to the Future of Docs
Session Three:Workshop on your Projects
Brian Newman springboardmedia.blogspot.com @bnewman01
Roadmap to the Future of Docs
End of Day
Brian Newman springboardmedia.blogspot.com @bnewman01
bnewman001@gmail.com
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