Vimeo Announces Open Platform For Creators To Earn Money From Their Videos

Vimeo to offer Creators Two Flexible Payment Options

Vimeo® today announced two new features that enable creators to earn money from their films and videos. Available now, Tip Jar allows viewers to show their appreciation to creators by voluntarily contributing money to support their work.  Over the next several months, Vimeo will also roll out an open pay-to-view service that allows creators to sell their work behind a paywall.

Vimeo’s focus on quality and creativity has allowed it to become one of the Web’s top 10 distributors of video online [1] with more than 75 million monthly unique visitors [2] and one of the world’s largest creative networks with over 13 million registered members. Vimeo’s introduction of Tip Jar and its upcoming pay-to-view service provide a clear path for video creators to build businesses around the films and videos they create.

“Empowering creators to make money from their videos is a logical next step for Vimeo as a service and an opportunity to expand the overall marketplace for video creators and viewers,” said Vimeo CEO Kerry Trainor.  “Established creators and emerging talent alike can connect directly with their audiences without the need to conform to industry standards around video format, price or timing releases.”

Vimeo’s Tip Jar enables video creators to crowdsource funds to support works directly from their viewers. Tip Jar will allow anyone to give tips before, during or after watching a video; Vimeo will pay 85 percent of the gross revenue to the creator. Starting today, Vimeo Plus or Pro members can choose to activate Tip Jar.

Vimeo’s pay-to-view service will be an open platform for video creators to sell access to their films and videos. Expanding on traditional rental and Video On Demand models, Vimeo’s pay-to-view service gives creators customizable options to sell their films and video content directly to their audiences and provide control over pricing, rental duration distribution location and other settings. Vimeo will begin rolling out its pay-to-view service in beta preview this fall with a curated series of films.  Vimeo will make the pay-to-view service available to all Vimeo PRO subscribers in early 2013.

“Creators have asked us for quite some time to help them monetize their work, but we think it needed an approach that put the controls back into the hands of the creators themselves,” said Dae Mellencamp, President of Vimeo. “We designed these tools to allow video creators to be as flexible as possible while providing the ability to financially succeed at various levels of viewership.”

For more information about Vimeo’s new creator monetization tools, please visit https://vimeo.com/blog/post:523 or watch https://vimeo.com/49684456.

About Vimeo

Vimeo® is the home for high-quality videos and the people who love them. Vimeo’s mission is to empower and inspire people around the world to create, share and discover videos. As one of the world’s largest creative networks, Vimeo reaches a global audience of more than 75MM each month. Founded in 2004 and based in New York City, Vimeo, LLC is a subsidiary of IAC (NASDAQ: IACI)

[1] June 2012 Comscore

[2] August 2012 Vimeo Internal via Google Analytics

Diary of a Film Start-Up Part 3: The Producer's Dilemma

Diary of a Film Start-Up Part 3: The Producer's Dilemma
By Roger Jackson
The Producer’s Dilemma You probably know the classic movie making conundrum that indie producers struggle with: talent (or rather their agents) won’t commit to a film project until you prove you have funding, and investors won’t write a check until you prove you have talent attached. The producer’s dilemma. And, of course, all successful producers find creative solutions to that thorny issue. KinoNation has a similar challenge: It’s tough to get filmmakers fully committed without video-on-demand distribution outlets in place, and it’s hard to sign VoD outlets without a slate of films.
Meeting with Hulu
So in an industry (Hollywood) that’s notoriously suspicious -- even hostile -- towards outsiders and upstarts, our first meeting with a VoD distributor was a breath of fresh air. Hulu “got it” immediately. They were informed, candid and provided the type of objective but positive feedback that Klaus and I needed. Yes, you can be a content partner with Hulu, they said. Just show us you can aggregate great independent features and documentaries, and then prove you can deliver them to Hulu in the high quality format we require. Deal! We got to work immediately on the ideas and to-do list that sprang from the meeting -- in a new venture like KinoNation, the positive momentum from this type of informal encouragement is huge.
Acronyms on Demand
Since then we’ve been talking to video-on-demand platforms all over the world.  So now is probably a good time to deal with the soup of video-on-demand acronyms we find ourselves swimming in. SVoD, TVoD, FVoD are among the most common, but the list goes on, it’s confusing, and from now on I’m just going to use the umbrella term VoD -- “Video on Demand.” But, for the record,  SVoD is “subscription“ video-on-demand, where the customer pays a flat monthly fee. Like Netflix, or Hulu Plus. TVoD is “transactional” video-on-demand, where customers pay each time they rent or buy a movie. Like iTunes, or Amazon Instant. And FVoD is “free” video-on-demand.  Like Vimeo, or YouTube. OK, with that out of the way, suffice it to say we’re busy knocking on the doors of dozens of VoD companies, worldwide.
Now We Need Movies
Now the flip side of our producer’s dilemma: we need an initial slate of films -- fifty or so would be ideal. So last week we fired up an Invitation Only page on KinoNation, seeking full-length films (and filmmakers) for what techies call Beta Testing. As we wrote on that page “These films will form the initial slate of films to be run through our automated Upload-Transcode-Distribute process...filmmakers involved will help shape the creation of KinoNation.” The response already has been great -- indie features from the USA, UK and Australia, documentaries from France and South Africa, and amazing enthusiasm from filmmakers who know they can drive an audience to their films, but want help getting them out there!

First Mover Advantage So who are these bold filmmakers, and what are they submitting to KinoNation? And why are they motivated to be “first movers?” Here’s a sampling. Husband and wife filmmakers Lindy and Kris Boustedt are sending us their beautiful existential drama This is Ours. Lindy notes that “We’re confident we can market/find an audience for our film, we just want a simple route to getting our film into paid video on demand.” South African filmmaker James Walsh has submitted his stunning mountain bike documentary An Epic Tale, and writes “Love the simplicity of Kinonation! More than happy to be a guinea pig for this process.”  From Australia we heard from director Sky Crompton, who has submitted his Austral-Asian drama Citizen Jia Li. Veteran LA filmmaker Rich Martini (what a great name!) already has his incredible after-life doc Flipside out on DVD, and writes that “VOD is definitely the smartest way to go with my own particular niche of story telling...once it’s available on demand I can sell the heck out of it...thank you KinoNation for showing up at exactly the right time to enable a new vision of distribution!”

So I invite you to submit your film to our Private Beta. The form takes 2 minutes to complete, the rules are super-simple, there’s no obligation to participate, no cost, no strings attached. And there’s absolutely no danger that your baby will be stolen, or end up on DVD at the night market in Shanghai. Although as filmmaker Lindy Boustedt wrote, “"We'd be oddly thrilled if This is Ours was pirated. Cause that would mean it was popular enough to steal."

 

Next week:  Post #4: Story Arc for Investors or Why I Stopped Worrying and Learned to Love Raising Money.

Roger Jackson is a producer and co-founder of film distribution start-up KinoNation. He was Vice President, Content for digital film pioneer iFilm.com and has produced short films in LA, documentaries in Darfur, Palestine and Bangladesh, a reality series for VH1 and one rather bad movie for FuelTV. He is executive producer at Midnight Swim Productions.

Diary of a Film Start-Up Part 2: Birth of a (Kino)Nation

Diary of a Film Start-Up Part 2: Birth of a (Kino)Nation
By Roger Jackson
KinoNation We were determined the site would be a dot com domain -- not dot biz or dot US or dot-whatever. But available dot coms are rare and we weren’t going to pay thousands of dollars to some shady cyber-squatter. Klaus found KinoNation.com -- it was available, it makes sense, we like it and seems easy to remember. “Kino” is German for cinema. And “Nation” can be defined as a community of persons bound by a shared interest or passion. That seems to work. We’re also excited about the potential for this venture in China, making thousands of Chinese indie films available to the rest of the world. So the name had to sound OK to the Chinese ear (we’re assured it does) and it more or less translates into Mandarin as “Film Kingdom.” But. There’s always a “but.” In this case there’s a site in Russia, kinonation.ru where you can watch Hollywood movies -- in Russian -- for free. Hard to say whether they’re legit or pirated. Either way, we have the dot-com, they have the dot-ru -- there’s no reason we can’t co-exist, right?
The Lean Startup
Klaus and I are fans of The Lean Startup -- the idea that all new ventures are based on big, untested assumptions, and the best way to test them is to get a minimum viable product out there quickly. In weeks rather than months. That way, if you’re going to fail, at least you fail fast! Our big assumptions are that filmmakers and content owners will see value in KinoNation and want to upload their movies. And that digital video-on-demand outlets will want those films enough to work with us.  Are those assumptions true?
First 6 Weeks So now we're 6 weeks into it. What have we accomplished so far? We're filmmakers so we started with a video. We convinced a few successful friends to talk about the problem we’re trying to solve, and Remy Boudet, our talented French director/DP/editor, pulled it all together. We built a website, nothing fancy, we used a WordPress template but I think it looks pretty good. Remy designed an ice cream logo, because apparently in France they still quaff ice cream in movie theaters. We decided to experiment with fund-raising on Indiegogo. We haven’t started a company yet, an actual legal entity. Haven’t printed business cards. Haven’t bought any equipment. It’s too easy to get bogged down in stuff like that and pretend you’re making progress, when it’s really just spending money you don’t have, before you need to. We’re focused on writing code, doing deals, spreading the word to filmmakers.
Response So Far The response from filmmakers and indie producers has been remarkably consistent: “KinoNation is a great idea, but since your success is dependent on the online success of the films uploaded, you’d better help filmmakers reach their audience, because there’s the real challenge.” We can provide online tutorials and tools, of course. Plus lessons on guerilla marketing, case studies of indie films that have grossed a ton of money via VoD – and examples of decent films where the online marketing was a fail. But we need more. I have a strong feeling there’s a more imaginative and even game-changing solution lurking just over the horizon? We’ll see.
Coming Soon The first few weeks were the easy part. Who doesn’t love brainstorming, shooting video, building websites. Now we have to build the technology that will do the uploading and transcoding magic. That will move massive digital movie files around the planet without any loss of quality. We have to do deals with digital distributors like Hulu and Netflix and iTunes and dozens of others. We have to convince filmmakers to trust us with their films. We have to figure out a business model that is fair and reasonable and transparent. Oh, and of course we have to find investors who believe in the vision and the potential to create a global distribution business.
That’ll keep us busy for a few months.
Next week:  Post #3: The Producer’s Dilemma - you know how movie talent won’t commit until you get funding, and film funders won’t commit until you’ve signed talent? KinoNation struggles with the same dilemma with content owners and video-on-demand partners.

Roger Jackson is a producer and co-founder of film distribution start-up KinoNation. He was Vice President, Content for digital film pioneer iFilm.com and has produced short films in LA, documentaries in Darfur, Palestine and Bangladesh, a reality series for VH1 and one rather bad movie for FuelTV. He is executive producer at Midnight Swim Productions.

 

 

Enzo Tedeschi on "Distributing Films via the Ipad" (aka Tool Review: MoPix)

I don't know about you, but I am pretty astounded by all the opportunities before us for Direct Distribution. If you recall, I have listed 32 different Platforms and Tools that filmmakers can now utilize. One such tool is the MoPix. I am excited that the Truly Free Film Community is coming together to try inform each other of what works (or doesn't) in this plethora of riches. Today, one of the producers from the great experiment in both Free & Crowdfunding, The Tunnel, is here to tell you about the mobile & tablet App building tool MoPix. Ladies & Gentlemen, Enzo Tedeschi:

Distributing The Tunnel as an iPad app using MoPix.

In making and distributing The Tunnel, my co-producer Julian Harvey and I have broken a few traditions. In fact we kinda threw out the playbook, from crowdfunding by selling off the frames of the film, to direct-distributing as much as possible, as globally as possible, and as close to a day-and-date release as possible. Our theory was simple - if our audience could find our film simultaneously on as many platforms as we could muster, the film would have its best chance at success. And one global platform that seems to be growing in audience at a rapid rate is the iPad.

Pricing up the development of a custom mobile app in Australia was discouraging. At $10,000 - $20,000 AUD to get it done properly, that was simply not going to happen on our paltry budget.

We were only a few weeks out from release when we heard about MoPix – and we got excited. These guys had built a platform for iPad, iPhone, and Android that would enable us to create an app to distribute The Tunnel directly via the App Store.

Talking to Ryan Stoner at MoPix, we were able to get in during their beta stage, and in a matter of weeks we had a custom-branded app that did everything we needed it to. The Tunnel was now going to be the first Australian film ever to be , and we were going to be able to do it alongside our other release platforms.

The process from our end was actually quite painless, and involved cropping a few images to size and sending those and the video assets over to MoPix. An iPad app came out the other side.

The benefits for us seemed obvious – the film was presented in a very slick way, completely branded so that it felt like OUR product, not theirs, and we could circumvent the pain that just about every indie filmmaker knows – trying to get our film into the iTunes store. The feature set was simple, but had everything it needed to feature an equivalent to our DVD extras. It also let us add a really slick behind-the-scenes photo gallery, which gave us a point of difference from all the other avenues in which the film was available.

If you think about the marketing and distribution of your film in the long term - which we always try to – App updates also create a way for you to keep your audience active. Soon, we’ll be updating the Tunnel app to include in-app purchases. This feature is great for two reasons. First, it enables us to keep selling content to our audience who have already purchased the app. Someone who has already put money on the table for your film is far more likely to keep buying, than someone who hasn’t invested at all. Secondly, when we push out the update, the act of downloading it to see what features have been added creates another interaction with our audience. It’s another small part of the ongoing conversation we’ve been having with our fans since the beginning – even before we had a film.

And while we’re on the subject of marketing – another thing that an app can do for you brilliantly is combine your marketing and distribution into one.

For our next project, we’ll be going back to MoPix to create an app that, unlike The Tunnel, is free to download. The audience will still need to buy the film in order to watch it, but we will create a free app with compelling media-rich content which basically serves as marketing material for the film, which will then be accessible via the in-app purchasing mechanism. Once again, if you can get your audience engaging with your ‘brand’ – your film – they are much more likely to part with their hard-earned.

I will say though, that being in the beta stage, it’s not a perfect solution just yet. It would be cool to see some more platforms integrated, like logging into GetGlue while they are watching The Tunnel on their iPad. But knowing how switched on the guys over at MoPix are, I’m sure they’re working on it. For now the ability to tweet a photo from the gallery, for example, or post it on Facebook directly from the app works great.

MoPix are currently still looking for films for their beta slate – and even though we haven’t set the world on fire with sales of our app just yet, we’ve sold more than enough units for the endeavour to have paid for itself. All in all it has been very worthwhile.

You can learn more about The Tunnel at www.thetunnelmovie.net The Tunnel App Store link - itunes.apple.com Facebook – www.facebook.com/thetunnelmovie Twitter – @thetunnelmovie

Enzo Tedeschi is co-founder of Distracted Media along with Julian Harvey. Together they wrote, produced and edited The Tunnel - a project whose innovative approach has seen it hit international cinema screens despite being crowdfunded and given away for free online.

Before Distracted Media, Enzo co-produced and edited the controversial independent feature documentary Food Matters in 2008, a film which is still enjoying success around the globe, having now sold over 200,000 DVDs. He produced and cut the epic World War 1 period film Ghosts of War, and the award-winning short The Last One with director Carlo Ledesma.

As an ASE Award nominated editor, Enzo has worked on numerous television series, documentaries and award-winning short films. Recently he edited and oversaw the post-production path on Channel Nine's observational documentary series AFP for Zapruder’s Other Films.

Blake Whitman on "How To Find Music To Use Legally In Videos (Announcing Vimeo's New Music Store)"

The world keeps getting better and better -- at least in terms how we can create better work and get it seen. Today, has brought some more good news. Blake Whitman, Vimeo's VP of Creative Development, announces Vimeo's New Music Store:

In addition to being Vimeo’s VP of Creative Development, I also make videos. Something that I’ve been struggling with for a while now, is how to find music that I can legally use in my videos. I search and search and search every music related site on the net and it ends up taking WAY too much of my time. And even when I find that needle in the haystack, figuring out how to actually use the song (legally that is) is a whole other story. Do I contact the musician? The label? Do I need an attorney and who's going to pay for that?!

So we had an idea. Wouldn’t it be great to create a place on Vimeo to easily discover, license and download music? Well, the obvious answer is OF COURSE, but we wanted to make sure it would be easy and intuitive to use. So we decided to create Music Store, a music library powered by two great curated music providers, Audiosocket and the Free Music Archive. The library allows anyone to search tracks by lots of different criteria and provides license agreements right there on the site. You can purchase and/or download music easily and then throw it in an editor and start editing!

Check the key features:

     • Over 45,000 songs

     •Three types of licenses: 1) Creative Commons licenses which are free (yes free), 2) Personal use, Non-commercial, web-use licenses for the casual user which are $1.99 per track; and 3) Commercial, web-use licenses for professional users which are $98 per track.

     •Searchable by over 100 features like tempo, mood, theme, genre and instrumentation

Vimeo’s mission is to inspire and empower video creators. Vimeo Music Store is just another step in our effort to help people make better videos! Check it out here:

Prescreen Debuts as a Social Movie Discovery Platform

Prescreen was featured on our MUST READ list of the New Platforms. Sheri Candler also did an overview for the community on this site. Now they are launching. Their press release is below, but to understand just what they are doing, watch this short video before.

Are you excited? I'm excited.

Prescreen Debuts as a Social Movie Discovery Platform

Prescreen will embrace a curated daily email service to leverage the social web to give movies blockbuster exposure on an indie budget

SAN FRANCISCO, CA – September 14th, 2011 -- Prescreen, an innovative movie marketing and distribution platform, will officially launch today to give filmmakers and distributors an alternative to traditional advertising and distribution channels – through the mass marketing of curated content that is then shared by users through social media.

Prescreen offers users the ability to subscribe to a daily email alert, view trailers and rent movies to stream on demand, as well as earn rewards and discounts for sharing movie information on their social networks. Their daily email service highlights one movie per day, enabling their featured films to reach a wide audience.

Prescreen also delivers a Prescreen Performance Report to each filmmaker and distributor whose movie is featured on Prescreen. The report offers aggregated analytics and demographics about the audience for each featured film.

How it Works: • Consumer subscribers receive an email alert featuring one new movie each day. • Users watch the movie trailer for free and can purchase a rental to view the entire movie to stream on demand for up to 60 days. • Users can earn discounts and rewards by sharing the film through their social networks using Facebook, Twitter, etc. • Prescreen aggregates the purchasing data, protecting the privacy of each user, and delivers valuable demographic and analytic information back to filmmakers and distributors for future marketing and distribution efforts.

Prescreen’s intuitive marketing report includes all of the relevant information from the purchasers, allowing the content owner to use the detailed information to make informed decisions about continued distribution and marketing efforts. Prescreen allows content owners to maximize profits by marketing and selling via the Prescreen platform.

“Movie goers are increasingly consuming premium content through new digital channels including downloads, streaming, and video on demand (VOD), generating new revenue streams for the movie industry,” said Shawn Bercuson, CEO and Founder of Prescreen. “Prescreen will help movies of all shapes and sizes receive the love they deserve by leveraging the social tools that exist today to market and distribute movies more efficiently.” One of Prescreen’s first films will be Kino Lorber’s “The Robber;” a story of a champion marathoner who leads a double life as a serial bank robber, sprinting between heists and escaping from police in epic chase sequences. The film was directed by Austrian director Benjamin Heisenberg and features a riveting central performance by Andreas Lust (Revanche).

“Prescreen has developed an exciting and innovative digital platform for film distribution, and we are happy to be one of their first content providers,” said Richard Lorber, CEO of Kino Lorber. “We have one of the largest, most essential libraries in the United States and with Prescreen’s curatorial team so committed to high quality cinema it was a natural fit. In this rapidly changing digital distribution landscape, increasing market penetration means thinking outside the box –which is exactly why we're working with them.”

Prescreen is now accepting full-length feature film applications on a variety of topics and genres. To submit, visit: prescreen.com/submit. To sign up for the daily email service, visit: prescreen.com

About Prescreen Prescreen is a movie marketing and distribution platform that helps filmmakers and distributors efficiently reach audiences they otherwise would not have the ability to reach, and identify which audiences would provide maximum opportunity for continued growth and revenue. Prescreen offers users the ability to subscribe to email alerts, view trailers and stream movies on demand, as well as earn rewards for sharing movie information on their social networks. Visit prescreen.com for more information.

Prepare To Have Your Mind Blown: PowerToThePixel Announces Project Line Up

A couple years back I was asked to give the Keynote Address at PowerToThePixel's Annual Cross-Media Forum. It is not an exaggeration to say that the people I met and the knowledge they shared blew my mind. I saw the potential for immersive culture. I witnessed the growth of a community of visionaries. I had my hope restored for the culture, art, and society. If there was one film related event each year that I most want to attend, it is PowerToThePixel. Get ready because it is around the corner, and as today's press release (below) indicates, this year's edition is going to be 1000% pure awesome.

POWER TO THE PIXEL ANNOUNCES LINE-UP FOR ANNUAL CROSS-MEDIA FORUM & PROJECT SELECTION FOR THE PIXEL MARKET

London, 13 September 2011

The fifth edition of The Cross-Media Forum 11-14 October, from leading global cross-media company Power to the Pixel, features a world-class line-up of speakers and industry experts.

His first time speaking in the UK, Jeff Gomez CEO Starlight Runner (Pirates of the Caribbean, Halo, Avatar) will present the keynote for the conference on 11 October. Additional talks come from Digital Emmy award-winning filmmaker Katerina Cizek; Christopher Sandberg, Founder of Emmy-awarded TV and new media production company The company P; Creative Director Digital at Aardman, Dan Efergan; Michel Reilhac, Executive Director of ARTE France Cinéma as well as Tero Kaukomaa, producer of the much-anticipated Finnish project Iron Sky, amongst others. The Cross-Media Forum is held in association with the BFI London Film Festival.

The conference covers the latest trends in audience behaviour and new business models in the cross-media and transmedia space. It is followed by The Pixel Market, a one-of-a-kind marketplace dedicated to financing international cross-media properties.

Chosen from nearly 100 applicants, 25 producer-led teams take part in one-to-one business meetings with potential partners and financiers from across the media industries. Project stories extend across media platforms including film, broadcast, gaming, online, interactive, publishing, live event, mobile/tablet. Selected projects include Cloud Chamber produced by regular Lars von Trier collaborator, Vibeke Windelov; Fort McMoney, a new project from David Dufresne, writer of multi-award-winning web documentary Prison Valley; Swandown, a collaboration from award-winning artist/filmmaker Andrew Kötting and author Iain Sinclair; Unspeak being produced by award-winning cross-media company Submarine, directed by film director, producer and long-time collaborator of Richard Linklater, Tommy Pallotta.

Nine of the teams go forward to The Pixel Pitch Competition on 12 October, backed by French/German broadcaster ARTE to compete for the £6,000 top prize. Projects are presented to a jury of international commissioning executives, decision-makers and financiers in front of an audience of Power to the Pixel delegates. The Pixel Pitch presents a unique opportunity to hear how cross-media projects are financed, and by whom.

The winner of the ARTE Pixel Pitch Prize will be announced at an evening awards ceremony on 13 October.

The Cross-Media Forum receives over 800 international delegates each year and is seen as an essential part of the calendar for anyone interested in exploring creative business and digital change.

“The Cross-Media Forum has built a global reputation to be the place where creators, financiers and entrepreneurs can discuss innovative ideas and business practices in a unique collaborative environment,” said founder Liz Rosenthal.

“World-class experts will share their latest findings on new ways to tell stories, engage audiences and grow successful cross-media story properties.

“The Pixel Market is the only dedicated cross-media market and showcase in the world where you can meet commissioners and financiers from the film, broadcast, games, mobile, interactive, publishing and online worlds who are committed to investing in cross-media properties. We’re very excited about the high quality of projects and talent showcased in this year’s selection and look forward to facilitating new synergies and partnerships across industry silos."

The Pixel Market is supported by the Media Programme of the European Union. Additional support from BFI, Skillset Film Skills Fund, ARTE, Telefilm Canada, TorinoFilmLab

Costas Daskalakis, Head of MEDIA programme unit at EACEA said: "Cross-media projects have attracted a lot of attention over the last few years. MEDIA is happy to support events such as The Pixel Market so that they also attract funding. The MEDIA programme has developed an overall strategy to support cross-media projects including training, financial support for development, markets and distribution."

Dan Simmons, Head of Film (Acting) Skillset said: "The impact of digital and new technology continues to be a funding priority for Skillset under the UK’s film skills strategy ‘A Bigger Future 2’.

We have funded Power to the Pixel since its inception five years ago. Events such as The Pixel Lab and The Pixel Market are powerful opportunities for cross-media professionals - spanning different sectors of the creative industries - to network with leading digital pioneers; developing new business and transmedia opportunities in an international environment.”

Carolle Brabant, Executive Director Telefilm Canada said: “We’re excited to support cutting-edge events like Power to the Pixel. Today, Canadian producers, broadcasters and distributors need to be more innovative to ensure that their content is properly showcased, viewed and distributed around the world. At the same time, opportunities abound with many new cross-media platforms enabling consumers to engage with the work of Canadian creators in new ways.”

Michel Reilhac, Executive Director of ARTE France Cinéma said: "Although the field of transmedia is fairly new and still inventing itself as we speak, the Power to the Pixel event allows all people involved in the art of storytelling to evaluate where we are, who does what. It is the focus event that allows us all to check what our current issues are, what's new that's been accomplished and how our new challenges in the field of participative storytelling evolve. It is the one invaluable occasion in the year where people involved and interested come together and share projects, knowledge and experience."

PIXEL MARKET PROJECTS including PIXEL PITCH FINALISTS & PIXEL PITCH JURY PIXEL PITCH FINALISTS 1. Process: Cause & Affect (CAN) Non-fiction: Online | film | installation | mobile Producer: C J Hervey | Executive Producer: James Milward An interactive documentary and transmedia project that profiles groundbreaking artists who create beautiful works of art using computer code.

2. Cloud Chamber (DEN) Fiction: Online | mobile | TV Producer: Vibeke Windelov | Director: Christian Fonnesbech | Writer: Darin Mailand-Mercado A science drama inspired by space. Players collaborate to uncover the story of a young scientist who has risked her sanity and betrayed her father in order to save humanity from itself.

3. Jezabel (FR) Fiction: TV | online | mobile | radio | print | live event Producer: Eric Pellegrin | Director: Julien Bittner | Writer: Julien Capron A series about a 19-year old student who posts a song on YouTube - the song soon becomes a big hit. After a producer offers her to launch her career, Jezabel will be torn between two worlds: show business in Paris and the decadent student parties in her city, Lille. How will she handle her fame? A story about growing up, falling in love, finding your way.

4. Lost and Sound [working title] (UK) Non-fiction: TV | online | app Producer: Kat Mansoor | Writer/Director: Lindsey Dryden An exhilarating and moving creative experience about the great human love affair with music, through the prism of deafness. It weaves a character-driven narrative – following three people's re- discovery of music after deafness – with an extraordinary adventure through the science of sound, revealing how music reaches us through the ears and brain when neither work ordinarily. 5. Love & Engineering [working title] (FIN) Non-fiction: Film | TV | online | mobile Producer: Kaarle Aho | Writer/Director: Tonislav Hristov Digital geeks looking for analogue love. One claims to have hacked love, can he help lonely engineers find real happiness?

6. My Little Songs (FR) Non-fiction: TV | online | apps | books | games Producer: Deborah Elalouf | Director: Edith Louis Tim, aged 7, has discovered a mysterious magic piano. No sooner does he play, than a variety of characters pop up from the piano to create animated and interactive musical cartoons. Nursery rhymes initiated by Tim will be the starting point of adventures for Tim as well as the viewer/player. An opportunity for young children to discover foreign languages through a fun trip! 7. Tomorrow We Disappear (USA) Non-fiction: Film | Condition ONE | interactive | online | installation Producer/Interactive Director: Jimmy Goldblum Since 1978 Delhi’s magicians, puppeteers and acrobats have called the tinsel slum, the Kathputli Colony, home. Last year the government issued relocation permits to the colony residents; the slum is to be bulldozed, cleared for development. Experience the last remnants of a culture borne out of folk traditions and moulded by poverty. 8. We R Democracy (BEL) Non-fiction: Online | apps | games Producers : Matthieu Lietaert, Jamie Balliu, Nicolas Sauret Co-Directors/Co-Creators: Matthieu Lietaert & Fritz Moser Have you ever wanted to shape tomorrow's globalisation? Here is your chance: Become an online lobbyist in Europe! Get to know the hidden part of democracy, meet key protagonists and build your own lobby network. Play a game-like experience that's also influencing the real world around you!

9. The First Zombie (CAN|UK) Fiction: online | book | film Producer: Jeff Norton A lonely zombie, fresh from the grave, struggles to get back the family life he once took for granted. Sometimes even the living dead deserve a second chance.

ADDITIONAL MARKET PROJECTS 10. "100" (UK) Non-fiction: Feature film | online | apps | TV | live events Producer: Jessica Levick | Director: Sam Blair A hypnotic study of the art of sprinting, this startling documentary – made in partnership with adidas – reveals the hopes and struggles of London's grassroots athletes on the eve of the 2012 Olympics.

11. The Ark Experiment (AUT) Non-fiction: Feature film | online Producer: Michael Seeber | Director: Sepp R. Brudermann The end is near, but don’t worry we will guide you through it!

12. The Awra Amba Story - Utopia in Ethiopia (FIN/UK) Non-fiction: Online | mobile | broadcast | live events Producer/Director: Paulina Tervo | Co-Director: Serdar Ferit A multi-platform, multimedia project about a utopian village in Ethiopia including an interactive 360° web documentary, a feature-length film and an interactive exhibition.

13. The Cat Time Stories (CRO) Fiction: TV series | interactive | app | online Producer: Helena Bulaja | Writer: Nada Horvat The Cat Time Stories relates the everyday adventures and experiences of cats and their friends, through blending the worlds of 33 stories about the adventures and experiences of slightly humanized, but thoroughly feline characters. They hunt for treasure, displease their human “masters”, go shopping, worry about their appearance, avoid dogs, get stuck in the top branches of a tree and do everything which takes up the busy agenda of a cat’s day. One of them even discovers he can fly...

14. Conspicuous (USA) Fiction: FB apps incorporating stills | text | news Producer: Mike Knowlton | Writer/Director: Hal Siegel A suburban mum discovers her husband is having an affair. In the aftermath, she becomes a private detective. It's Weeds meets artist Sophie Calle.

15. Facelessbook (ITA) Non-fiction: Feature film | book | TV | installation | online | print | podcast Producer: Alessandro Borelli | Director: Sergio Basso A cross-media platform conceived as a role-playing game: a serious game to understand what it means being on the run, to identify with a refugee, in the world of today.

16. Fort McMoney (CAN) Non-fiction: Online | gaming | TV | print | mobile Producer: Philippe Lamarre | Director: David Dufresne A web documentary with gaming. A unique social experience. Welcome to Fort McMoney, the biggest power project in the world.

17. LoveTrips (AUT/POL) Non-fiction: Feature film | TV | online | mobile/tablet | print Producer: Filip Antoni Malinowski | Director: Carlo Pisani LoveTrips tells the stories of people that have to travel to keep their love alive.

18. Mirages (BEL) Non-fiction: TV | online | mobile | iPad | live events Producer/Director: Patric Jean | Transmedia Producer: Barbara Levendangeur Science and scepticism require that we look for natural and empirical explanations for all phenomena. Mirages is designed as a transmedia documentary experience which investigates how we often convince ourselves to believe and overlook the facts (of any kind).

19. Pas de Deux (SWE) Fiction: Film | book | live event | online/social networks | radio Producer/Co-Writer: Anna Nevander | Co-Writer: Signe Kjellman A devoted opera singer lives a consuming passion with an inconstant photographer and looks for divine love in her friendship with a young priest, who ends up trying to rape her.

20. The Revolution Will Not Be Tweeted (FR) Non-fiction: Live event | online platforms | feature film Producer: Emilie Blezat | Director: David Dusa TRWNBT investigates how far the internet can go to found a new civil society, how the power of social media influences social change. An educational project, a think/do tank, a dialogue platform and a visual representation of the way the internet empowers citizens and articulates a rapidly changing world.

21. Ruby Skye P.I.: The Haunted Library (CAN) Fiction: online/social networks | TV/VoD | mobile/tablet | books | live events Producer/Writer/Showrunner: Jill Golick | Producer: Susan Nation | Director: Kelly Harms A cross-media, live-action, comedy-mystery series designed especially to engage young audiences growing up in the digital generation. Stubborn, smart, determined and a little too quick to jump to conclusions, 15-year old Ruby makes a lot of unfortunate choices in her pursuit of truth, justice and, well... personal curiosity.

22. Seasons Project (FR) Non-fiction: TV | online | games | smartphone app Artistic Producer/Co-Creator: Chloé Jarry Co-Creator: Antoine Bamas Seasons Project launches a large citizen investigation into the evolution of the seasons in Europe.

23. Shankaboot - Unlocking The Power of Social Media (LEB) Fiction: Online | social networks | mobile apps Producer: Katia Saleh | Director: Amin Dora | Lead Writer: Bassem Breish Fresh from dodging disaster on the streets of Beirut, Suleiman causes havoc across the Middle East when he convinces four friends in different Arab countries to launch a bogus political campaign on Facebook. but, when their virtual revolution spills over into the real world, the armchair freedom-fighters are forced to face the consequences.

24. Swandown (UK) Non-fiction: Feature film | installation | live events | TV | online Producer: Lisa Marie Russo | Director: Andrew Kötting Writer: Iain Sinclair Swandown is a documentary, travelogue and odyssey of Olympian ambition. A poetic film diary about encounter and culture. It is also an endurance test and pedal-marathon.

25. Unspeak (NETH) Fiction & non-fiction: online HTML5 cloud & integrated social media | interactive Producer: Femke Wolting | Directors: Tommy Pallotta & Geert van de Wetering Unspeak is a style of political language that smuggles persuasion into description by renaming politically sensitive subjects. A radical and at times poetic collage of found footage, media sound bites and voice over, the series unveils the mechanisms behind Unspeak and encourages the viewer to listen closely, as well as editing and distributing their own Unspeak clips.

Confirmed international jurors (with more to be announced):

JULIE ADAIR Director of Online (Europe, Middle East, Africa), Walt Disney Company (UK) NUNO BERNARDO Producer & CEO, beActive (PORT) GUILLAUME BLANCHOT Head of New Media & Video Games, CNC (FR) ROSA BOSCH Producer & MD, B & W Films (SPA/UK) MORGAN BOUCHET Director Transmedia & Social Media, Orange (FR) PETER CARLTON Head of European Division Warp Films (UK) NICK COHEN Managing Partner & UK Head, MediaCom Beyond Advertising (UK) LOC DAO Head of Digital Content & Strategy, NFB (CAN) REBECCA DENTON Senior Producer, Original Series & Development Turner Broadcasting (EMEA) (UK) LIZZIE FRANCKE Senior Production and Development Executive, BFI Film Fund (UK) JEFF GOMEZ CEO Starlight Runner (USA) BEN GRASS Managing Director Pure Grass Films (UK) DIGBY LEWIS Director of Content & Digital Development, ShineVu (UK) RAY MAGUIRE Former President (UK, Nordic & Ireland) Sony Computer Entertainment (UK) IAN McCLELLAND Senior Vice President of New Media RTL Group (LUX) MICHAEL MORRIS Co-Director Artangel (UK) MICHEL REILHAC Executive Director ARTE France Cinéma (FR) CHRISTOPHER SANDBERG Founder & CCO, The company P (SWE) VIDA TOOMBS Head of Content Europe, VBS.TV | Vice (UK)

About Power to the Pixel:

Power to the Pixel supports the film and media industries in their transition to a digital age. The company specialises in new ways for content creators and businesses to create, finance and distribute stories and engage with audiences across multiple platforms.

Headed by Founder & CEO Liz Rosenthal and COO & Producer Tishna Molla, the company’s London team has a wealth of experience and expertise across film and cross-media development, production and finance, and is linked to a unique network of the leading thinkers, practitioners and innovators who are developing new business and creative opportunities around the world.

Specialising in new ways for content creators and businesses to create and finance stories and engage with audiences across multiple platforms, Power to the Pixel’s core activities are: • Providing consultancy to international media organisations, content creators and companies • Designing innovative in-house company training programmes and bespoke initiatives • Producing international forums, events and labs centred around cross-media, IP and business • Facilitating the exchange of ideas and the building of international partnerships between media professionals and between industries

The company’s understanding of the challenges and opportunities of digital change means Power to the Pixel is an essential bridge between the visionary, the pioneering and the practical.

Power to the Pixel’s clients and partners include: ARTE; BAFTA; BBC, BBH; Berlin Film Festival; BFI; Cannes Film Festival (Marché du Film); EAVE; EU MEDIA Programme; Edinburgh Film Festival; IFP; Nordisk Film & TV Fond; UK Film Council

www.powertothepixel.com

CINEDIGM DIGITAL CINEMA LAUNCHES INDIE DIRECT™

Everyday brings a better world for the independent filmmaker. Why should today not be like all others?

I was glad to receive today's press release announcing Cinedigm's new endeavor. I was even gladder though to learn of it, which is why I gave them this quote expressing it! CINEDIGM DIGITAL CINEMA LAUNCHES INDIE DIRECT™, A FULL SERVICE THEATRICAL DISTRIBUTION AND MARKETING SOLUTION FOR INDEPENDENT FILMS

Utilizing the Digital Cinema Backbone, Indie Direct™ Navigates Indies Through Theatrical Release Process

Woodland Hills, CA, September 7, 2011 – Cinedigm Digital Cinema Corp. (NASDAQ: CIDM), the global leader in digital cinema, today announced the formation of Indie Direct™, a full service distribution and marketing solution for independent film producers and distributors. Utilizing the digital cinema backbone, Indie Direct™ provides independent producers access to Cinedigm’s long-time industry standard services for managing theatrical digital distribution, including booking software, content delivery, sales, distribution strategy, marketing planning and execution and box office recoupment.

“From day one of digital cinema, Cinedigm has been at the forefront of deployment and installations,” said Chris McGurk, Chairman and CEO of Cinedigm Digital Cinema. “With Indie Direct™, we have tapped into our many years of experience and expertise to pioneer a turnkey method for indie producers to benefit from the flexible, precise and efficient distribution model digital cinema enables. Now, indie producers can reap the benefits of a full service studio in a one-stop shop.”

“Cinedigm is offering independent film makers autonomy to control their own destiny with Indie Direct™,” said Ted Hope, acclaimed independent producer of such films as 21 Grams, American Splendor and In the Bedroom. “Anything we can do to strengthen the indie community is vital to the health of the entertainment industry overall and I applaud their efforts.”

The first two production entities to sign up for Indie Direct™ are ARC Entertainment and Seven Arts Pictures. ARC is using the highest level of Indie Direct™ for eight titles it is releasing by the end of the year, including a horror film double feature with Zombie Diaries and Hellraiser, Smell of Success, Revelations, Killing Bono, Bunraku, Greening of Whitney Brown, Sundance Film Festival pick-up Knuckle, and Snowmen. Seven Arts Pictures will be using Indie Direct™ for the US release of The Pool Boys on September 30, 2011.

”A theatrical run tremendously enhances the value of the ancillary downstream revenue opportunities for our projects,” said Trevor Drinkwater, CEO of ARC Entertainment. “Cinedigm’s Indie Direct™ makes that theatrical play both efficient and affordable.”

”We are pleased that Indie Direct™ promotes the independent film community by putting a theatrical release within reach, both financially and from an execution perspective, ” said Jill Newhouse Calcaterra, Chief Marketing Officer, Cinedigm. “Previously producers had to go to multiple vendors for these services that are now available under our one roof.”

Completely customizable based on scope of needs and project release, the suite of services provided by Indie Direct™ includes: · Booking software · Distribution strategy · Sales · Content management and delivery · In theatre marketing · Box Office tracking, settlement and collections · Marketing strategy planning · Marketing execution · Publicity campaign strategy and execution

About Cinedigm

Cinedigm is a leader in providing the services, experience, technology and content critical to transforming movie theatres into digital and networked entertainment centers. The Company partners with Hollywood movie studios, independent movie distributors, and exhibitors to bring movies in digital cinema format to audiences across the country. Cinedigm's digital cinema deployment organization, software, satellite and hard drive digital movie delivery network; pre-show in-theatre advertising services; and marketing and distribution platform for alternative content such as CineLive® 3-D and 2-D sports and concerts, thematic programming and independent movies is a cornerstone of the digital cinema transformation. Cinedigm™ and Cinedigm Digital Cinema Corp™ are trademarks of Cinedigm Digital Cinema Corp. www.cinedigm.com

Masterlist of PMDs ("Producer" Of Marketing & Distribution)

Okay, I am not truly a fan of the term "Producer Of Marketing & Distribution", but I am even more NOT a fan of how easy we throw around the term "Producer" in general. To me the Producer of a film is the individual or team that is there from the very beginning until the very end -- there is no in between -- and ultimately responsible for EVERYTHING. If you were not involved in any aspect of either the development, financing, casting, production, post, sales, marketing, distribution, and reporting, then you are not a "producer" and should not take that credit. There: I said it. But a nickel is bigger than a dime, and we drive on the parkway and park in the driveway, so who am I to say that this world or a job title does not really make sense? And frankly, if the collaboration between a "PMD" and a film works the way I dream it can, that individual is certainly there from at the very least VERY CLOSE to the beginning and all the way to the end -- like a producer is.

Regardless of how I feel, at this moment in time we are calling those that work in DIY/DIWO films, the PMD, and the world knows they need all the incentives we can provide to do this necessary work, so who am I to quibble over semantics? But the real question really is, who are the people that do this work and where can you find them? Today I launch the Masterlist of PMDs. I will allow someone else to take it from here.

Two weeks ago I asked "Can We Create The Future Of Indie Film Marketing & Distribution -- Or Is It Already Dead?". Ultimately it was a plea for the indie world to take serious the training & utilization of people specializing in DIY/DIWO marketing and distribution. The readers of this column started a lively discussion (check out the comments). Many revealed themselves to be precisely the sort that is gaining this expertise from actual experience in the field. Jon Reiss kept the conversation going with a subsequent post.

If you are prepping a new film, you should budget to collaborate with them, and bring them aboard. Jon Reiss contributed a great post last week on the why and also another on the responsibilities of a "PMD". I wrote out a list of all the services a "PMD" could utilize (now at 31!). I thought that the excuse of why I wasn't collaborating with a "PMD" on my last production, was because I didn't know who they were. I won't let you get away with the same excuse. Nor will I use it in the future.

The important thing is to recognize that PMD's are not simply for-hire service providers. They are collaborators. They are intimate with the production and can speak with an authorial voice. Community building and audience outreach are VERY personal endeavors. To do the job, not even to do it well, but just to do it, requires a tremendous amount of earned-trust from the creative heads. It should be recognized as a job that involves creativity as well as tactics and strategy.

So... Wondering who does PMD Marketing & Distribution work? This is what I found (please add to the list by posting some comments). Many thanks to Jon Reiss who provided several of these in his recent post on the subject.

I have listed contact information when I had it and when the filmmakers okayed it. The credits have not been confirmed. It is a start though...

Michael R. Barnard- Contact: michaelrbarnard@iname.com | (917) 409-7294 | 444 E 10th St #104 New York NY 10009

Michael R. Barnard, Producer of Marketing & Distribution, brings years of experience in the production and distribution of low-budget video, broadcast TV, and films, along with experience in sales and marketing, to work with filmmakers to help make their efforts as profitable and widespread as possible. Michael is looking to partner with talented, ambitious, and exciting filmmakers. His goal is: "Bringing the audience to the film. Bringing the film to the audience."

See http://michaelrbarnard.wordpress.com

J.X. Carrera -

Bill Cunningham

I am a PMD who has created, developed and executed over 75 motion picture marketing and distribution campaigns (both international and domestic) for clients including Omega Entertainment, York Entertainment, Peace Arch Entertainment, and Artist View Entertainment.

In addition to my motion picture marketing and distribution experience:

I was the Associate Producer of .COM FOR MURDER (Starring Nastassja Kinski) I was the Producer of SCARECROW as well as its co-writer. I was the producer and co-writer for its sequel, SCARECROW SLAYER.

I have also been hired to write screenplays for several production companies here in Hollywood. In other words, I have a background that makes me useful on set, in post, and developing marketing plans to sell a producer's movie.

My specialty is high-concept, low budget movies - horror, science fiction, action, etc...

I am well-versed in setting up promotional web media, creating exceptional, compelling marketing materials and making sure a motion picture is ready for delivery to a distributor, or ready for a producer to distribute himself. I attend the AFM every year, and keep close ties with the buyers there.

Bill can be reached at this email address: cinexploits@gmail.com Or at the office:

Bill Cunningham Pulp 2.0 2908 Allesandro St. Los Angeles, CA 90039 323.662.2508 skype: madpulpbastard

Stephen Dypiangco (@Dypiangco) PMD “How to Live Forever” & Oscar winning short “God of Love” Contact: Email - Dypiangco@gmail.com Website - StephenDypiangco.com Twitter - @Dypiangco Facebook - http://www.facebook.com/thepmd

As a PMD, I must serve multiple functions on a film: strategist, project manager, communicator, problem solver and entrepreneur. But first and foremost, my primary goal as a PMD is to create and execute a customized marketing and distribution strategic plan (MDSP). I created this term, MDSP, to acknowledge the need for all film productions to have a concrete document from which to work. The term, “strategy,” is just too vague. This MDSP is a concrete strategic plan, a roadmap (a real physical document) of ALL OF THE WORK that needs to be done in the coming days, months and even years, before, during and after the film’s production. By moving forward without creating this roadmap beforehand, a PMD can become sidetracked and eventually get lost. If you don’t know exactly where you’re going, you’ll never get there.

Audrey Ewell - Contact :Stay tuned for the website launch, and in the meantime Audrey can be found at audrey[at]cyborgpr.com, 347-495-1476, or at Union Pool in Brooklyn.

"I position a film so that distribution is both more likely and then more successful. As a filmmaker (and one who's done all this for myself), there are nuances to the interactions between film, filmmaker and audience that I just get, a level of engagement that comes naturally and doesn't reek of marketing.

I start by helping filmmakers identify and engage their audiences. Then I tailor multi-platform digital outreach campaigns that organically amplify core audience excitement to reach new and larger audiences. I strategize and coordinate transmedia elements and game/incentive-based audience development (when desired), do website consultation with an eye toward social and new media optimization, and implement social media campaigns with an emphasis on peer to peer marketing. During festival runs, sneak peaks, premieres, launches and theatrical or semi-theatrical engagements (whether booked by me or an outside party), I consult on promotional materials, coordinate their manufacture and distribution, develop and coordinate street teams, and set up co-promotions with localized partners to cost effectively access targeted local audiences, push early ticket sales, and build awareness and excitement. I seek out new ideas and avenues of engagement and exhibition across multiple platforms.

I help the filmmaker demonstrate audience support and then leverage that visibility and fan support during the theatrical engagement. Once that infrastructure is there the filmmaker can build on it, use it to drive distribution in other markets, and help leverage their success into the next project.

Laree' Griffith Ambient Muse Production Services 310-986-0177 www.lareegriffith.com

Specializing in social media and promotional admin services for entertainment industry. Consulting with filmmakers and producers to create, implement and maintain an online presence for their productions. Other services are, email campaign maintenance, promotional material handling, and event organization.

Laura Hammer PMD @unicornsmovie http://unicornsthemovie.com/crew.html | contact: http://laurahammer.com/contact/

As Producer of Marketing and Distribution I work closely with the creative team to develop a Marketing and Distribution Strategy translating the goals of the team into a plan; identify and engage with the film’s core audience and target markets; secure brand sponsorships; assemble and supervise all necessary specialists and consultants. I believe that a successful marketing and distribution plan enhances and supports the overall vision of the film's director. I prefer to work with a film from pre-production through distribution but also offer a la carte PMD services. I have produced several narrative, experimental and documentary shorts that have screened at festivals, BAMcinématek, and the legendary Two Boots Pioneer Theater. At MUBI Garage I curate short films, produce interviews with established industry, and promote emerging filmmakers. I have set up and developed successful social media campaigns and web sites for individuals, small businesses, and feature films. I have additional experience in marketing, public relations, and audience outreach working with Broadway producers and Off-Broadway theater companies. I graduated with a B.F.A. in Drama from New York University Tisch School of the Arts and trained with Atlantic Theater Company. While an undergrad, I focused on Interdisciplinary Studies and graduate courses in Web Design at NYU's Interactive Telecommunications Program.

I am currently PMD for I BELIEVE IN UNICORNS from Student Academy Award nominated director Leah Meyerhoff (Slamdance Grand Jury Prize winning short Twitch), executive producers Allison Anders (Gas Food Lodging, Things Behind the Sun), David Kupferberg (Magic Valley) and Robin Leland (4th and Goal) and producers Heather Rae (Oscar nominated Frozen River) and Mark G. Mathis (Oscar winning Precious, Brick). I am also PMD for GRIOT, a feature documentary in post-production from Volker Goetze, Victor Kanefsky (Style Wars), and Samuel D. Pollard (Emmy winning When the Levees Broke: A Requiem in Four Acts).

http://www.unicornsthemovie.com http://www.griotmovie.com

Sally Hodgson @SallyHodgson or sally@pipocapictures.)com, also see http://www.indiegogo.com/sounditoutdoc

Joe Jestus (via Jon Reiss' post)

Michele Elizabeth Kafko - PMD “Revenge of the Electric Car”

Eddie Kahlish - "Happiness"

Jason Kohl - "Acting Like Adults"; currently 3rd Year student at UCLA.

Adam Daniel Mezei

About Adam Daniel Mezei's PMD-For-Hire:

PMD-For-Hire (www.pmdforhire.com) is a full-service, full-time, 6-days/week film marketing and distribution shop.

I serve the needs of indie documentary and features clients (mostly docs, truth be told), working intimately with production crews on a strictly embedded basis as part of a minimum 3-month introductory commitment -- or longer -- to help get projects needed audience traction and off the ground.

The overall aim of the service is to help filmmakers brand their films accordingly. I harp on the need to develop sound traditional marketing, blogging, and social media evangelism techniques -- among a dozen others -- to painstakingly replicate in "micro-version" what mini-studios devote hundreds of thousands -- millions, even -- of dollars to achieve.

My techniques are custom-designed to inculcate solid habits from the get-go for filmmakers who are deathly serious about their long-term career prospects and who wish to harness the boundless power of the newly-democratized filmmaking milieu in true DIY/DIWO-style. Moreover, the point of the exercise is to get filmmakers generating a steady cash flow from their work so they can continue to shoot films.

The techniques I employ are varied, yet standardized because they work.

While every project's ultimate marketing and distribution goals are indeed different, demanding a bespoke approach each time out after a critical evaluation of a project's current marketing assets and personnel, the methodologies I leverage are similar depending upon which stage of the production process I'm parachuted in.

Several approaches I've applied for clients in the past include: organizing themed live events from "soup to nuts" as a way to promote a project and sell product at the event. conceiving of and assembling the pieces for a comedy documentary's entire behind-the-scenes DVD Special Features section. managing a team of half a dozen editing and marketing interns as part of a film's post-production rapid rollout. representing a client at a marquee L.A.-area film festival as part of that picture's world premiere, taking potential distribution meetings in the process. providing coverage on a spec script with suggestions for possible location improvements with the aim of potentially capturing better co-branding prospects in the future. My rates are monthly, comprised of a flat fee, first and last's months paid in advance (one month is always on deposit), and I no longer accept month-to-month contracts as past experience has shown not much of impact can be achieved in just 30 days. Clients wishing to sign me for 30-day periods are throwing away perfectly good marketing budget, and I tell them so. I also tell clients I can't help projects which don't move me personally. So if I'm not "method acting" certain aspects of the production role, there's no PMD in the business who can help you.

PMD-For-Hire is proudly Toronto-based and to my knowledge I'm one of the few Canadians who does this for a living. Given how public funding bodies like Telefilm Canada have now committed to releasing grant money only to those co-produced projects with a clear audience engagement or transmedia strategy in place, the need for PMDs on indie production crews has never been more imperative.

Since I only work the projects where I think I can be of assistance, genres like soft snuff, horror, or certain types of foreign dramas are out of my league. Furthermore, I collaborate with only a limited number of projects each quarter, so once that quota is filled don't take on new clients until the current period is over.

For custom requests or to find out when the next opening is, info@pmdforhire.com, or dial 416-827-4196. I answer my phone almost always. Thank you.

And of course, client references available upon request.

Errol Nayci - PMD working in the Netherlands

John Oravec -

I worked with Jon Reiss as he was releasing his film Bomb-It, helped him with flyering, distributing merch, coordinating deliverables, updating social media sites etc. I also did the same for a USC Grad Thesis film Carpet Kingdom by Michael Rochford and also for the feature documentary Danny Greene by Tommy Reid. I am based out of Santa Monica, CA and my contact info is Johnny Oravec 323 698 6900 johnoravec@gmail.com and my website is http://www.facebook.com/l/RAQCRrkJkAQDWj7UqyQgPYCC0R8M3

Diana Iles Parker PMD on "Eat The Sun". Spoken Media Contact: 415.225.8121 (c) 415.388.8281 (o) diana@spokenmedia.com www.spokenmedia.com www.eatthesunmovie.com www.desertrunnersmovie.com

I am a PMD who partners with documentary filmmakers as early as possible in their filmmaking process so we can develop a strong, cohesive and well-supported launch for their film. I specialize particularly in hybrid models of distribution that focus on splitting rights and maximizing profits; festival strategy, publicity and marketing.

Amy Slotnick - PMD for “The Business of Being Born” (she received producer credit for her work); outreach for “Red State”; "Wake Up". Contact: aslotnick@mac.com

As a PMD I work with filmmakers to help them build, manage and optimize digital and traditional marketing and distribution, allowing them to better engage their audiences. This includes strategizing and executing marketing, publicity and distribution of independent films, often aimed to reach a niche audience or to promote a particular cause. Partnerships with organizations, brands and businesses as well as planning screenings with non-profit, student and regional groups has proved effective for raising awareness for a film. Creating and managing social networks, mobile and online promotions and overseeing online distribution, theater bookings and licensing deals are all part of the PMD position. A plan that is specific to a particular film’s subject matter and perspective can be crafted and implemented to leverage its assets and build momentum. Titles for which I have worked in this manner include Kevin Smith’s RED STATE (pre-release 15 city tour), THE BUSINESS OF BEING BORN and WAKE UP.

Lila Yomtoob lila@yomtoob.com Lila Yomtoob is a Brooklyn based producer specializing in marketing in distribution. She's got 12 years in different areas of the industry, a statuette named Emmy, and has produced three features, "Hidden Battles", "Foreclosure", and "High Life," which she also directed. As an independent filmmaker in her own right, she understands and respects directors' needs, and is especially passionate about getting good films seen by their audiences.

Tool Review: Stonehenge Mobile Apps For Films

The other day, I posted a WIP list of some of the many tools and platforms filmmakers have it their disposal these days. It's hard to make heads or tails of them. How do we determine which ones we should use? Luckily we have each other to help sort it out. Ari Gold takes the leap today and shares his experience on working with Stonehenge to build an app for his film ADVENTURES IN POWER. Hopefully those of you have that have used any other tools or platforms will let me know and share a post.

In marketing my movie "Adventures of Power", I've said yes to every opportunity that came my way, from making collaborative videos with Youtube stars, to making a phone App for my movie, to standing on the street in costume. The Film Collaborative, which every filmmaker should work with, put me in touch with Stonehenge, a company that makes Apps for movies. Being an early adopter of new distribution technologies can be exciting because you write the rules; on the other hand it's sometimes hard to track the return on investment. Stonehenge made a really cool air-drums and film App for my movie, and we've had people downloading it all over the world. It was fascinating to see where the App has done well (I never would have predicted big downloads in Jordan, for example!). Unfortunately, in a world where people like to get their digital content for free, we've had tons more downloads than sales of the paid-version of our App, which includes the whole movie, and it's impossible to track how many DVD sales were driven by people getting into the App. But Stonehenge has been on-the-ball with making this experiment as good as it can be.

...///\\\... Ari Gold AriGoldFilms.com

How Would You Use All 27 New Platforms Available For Direct (aka DIY/DIWO) Distribution?

UPDATED 8/31 730A (Now 30 Platforms & Services!)Thanks for the recommendations in the comments and elsewhere! UPDATED 9/1 630A (Now 31 Platforms & Services!) UPDATED 9/1 830A, UPDATED 9/8 8A (32!), UPDATED 9/15 6A, 9/23 UPDATED 5/15/2012 (Now 33 Platforms & Services!)

We are awash in wonderful opportunities. Distribution has long been said to be one of the top concerns of Truly Free / Indie filmmakers. Ditto on the marketing side. We've been neglectful to address the equally important social side, but that's changing. Financing is always a challenge, but even there we have new help and hope. The great news is that never before have we had so many opportunities in all these areas.

Now comes the time to develop some best practices. How do we use all of these wonderful opportunities? How do we prepare for them? How do we access them? Here's a list of the 27 platforms & tools I know of; I am sure you know some more to add to the list. Let's get this new model started!

How about everyone pick a platform (ideally one they used) and write up some recommendations on how to use it well, and we run them as posts on this blog?

So...

How do you think we should utilize all of these great tools and platforms? We are not going to figure it out one by one on our own. The truth will only be revealed through collective endeavor (and a little good fortune). I would love to hear some advice from all the budding and experienced PMDs out there... not to mention filmmakers who have utilized or plan on utilizing any of these.

I am having a bit of a hard time coming up with the proper discriptions for the tools and services. This is very much a Work In Progress. If you have a better definition, please let me know. Several services show up in different categories. There are definitely suppliers that I have forgotten or neglected to mention (my apologies, but this is a public service and not my job job).

1. Artist Direct Distribution / Platforms: FilmDIY (promo video), MubiGarage, Ooyala, Viddler,

2. Artist Direct Distribution / Platforms - non-specialized: These are places filmmakers can "sell" their work, but are not filmcentric. Craigslist, Etsy,

3. Artist Direct Distribution / TVOD Players: Distrify, Dynamo Player (Review), EggUp (review), FansOfFIlm.tv (still in Beta) , FlickLaunch, Groupee, OpenFilm,

4. Artist Direct Distribution / Service Facilitators: Sundance's Artist Services,

5. Audience Aggregation, Analytics, & Commerce: FanBridge, TopspinMedia

6. Audience Participation: LiveFanChat, Kickstarter, IndieGoGo, Social Guide, SoKap, Watchitoo

7. CrowdFunding/Audience Participation:      IndieGoGo • 4% fee if you make your goal, 9% otherwise, +3% credit card processing fee      Kickstarter • 5% fee, +3-5% credit card fee (only funded if you make your goal)      RocketHub • 4% fee if you make your goal, 8% otherwise, +3-5% credit card fee      SoKap • 5% fee, 10% fee on product sold via their marketplace, +3% credit card fee      United States Artists • 15% fee + 4% credit card fee      Eppela • 5% fee + PayPal processing fee (~2-4%), (must use PayPal, only funded if you make your goal, Italian)      Kapipal • Currently no fee + PayPal processing fee (~2-4%), (must use PayPal, Italian)      And 10 others listed here

8. Digital Delivery Facilitators: Veedios (article)

9.Digital Distribution Access Providers: Brainstorm, Distribber (analysis), GoDigital, Gravitas, Inception Digital Services, IndieBlitz ,Might Entertainment, New Video, Premiere Digital,

10. Digital Download & Streaming Aggregators: Amazon, AsiaPacificFilms.com, CinemaNow (aka BestBuy), FilmDIY, iTunes, Vudu, XFinityTV (aka Comcast),YouTube

11. Digital Limited Run US Theatrical Exhibition: Cinedigm, FathomEvents, Screenvision

12. Digital Streaming Aggregators FREE (AVOD): Crackle, Snag (Owners of IndieWIre, host of my blog), Vimeo, YouTube

13. E-commerce: E-Junkie (shopping cart)

14. Educational Market: An Overview, Educational Market Streaming

15. Exhibition/Four Wall Services (i.e. self booking): QuadCinemaFourWall

16. Exhibition/New Model: Emerging's Digital Repertory Program, Specticast

17. Free Peer to Peer: VoDo, BitTorrent

18. Fulfillment: Amazon Services, Amplifier, theConneXtion, CreateSpace, FilmBaby, IndieBlitz,Kufala Recordings, Paid, Transit Media, I got a lot more when I did a search but I don't know one from the other.

19. Influencer / Social Media Analytics: Klout, PeerIndex, Topsy, Traackr, Twitalyzer,

20. Markets / Online On Demand For Territorial Licensing (B2B): Cinando, Festival Scope,

21. Mobile Phone & Tablet Film App Builders: Mopix (see demo here) Stonehenge

22. Mobile Video Sharing: Thwapr,

23. Platforms: Facebook, Playstation, Roku, RoxioNow, XBox

24. Search (for SEO): Ask, Bing, Google, Yahoo

25. Social Discovery Platforms ( Online TVOD): PreScreen

26. Social Networks: Facebook, Google+, LinkedIn, Twitter, Weibo

27. Stream To View Transactional VOD (Pay): Constellation, Prescreen (review)

28. Streaming Subscription (SVOD): Amazon, AsiaPacificFilms.com, Fandor, Hulu, LoveFilm, Mubi, Netflix

29. Trailer Distribution / Online Internet Video Archive

30. Video Conferencing / Multi-party (for Fan Engagement & Remote Appearances): Watchitoo

31. VOD Aggregation: itzon.tv,

32. VOD Channels: Multichannel Video Programmers (note: not all offer VOD), FilmBuff

33. Facebook Video Players/Channels:Cinecliq, Milyoni

Rachel Gordon on "Streaming Educational Media"

Rachel Gordon first posted on this blog about tapping into the educational market, and what we need to do to be in a position to benefit from the opportunity before us. Today, Rachel continues with an update on how that market, like everything else, has evolved during this Age Of Digital Disruption.

Like the rest of the media consumption world, educational uses for films no longer solely occur by watching DVDs. Though non-theatrical forums are still mostly reliant on physical copies to screen, there is a growing trend of streaming media for classes. This is done in multiple ways: using a provided username and password at a designated website, logging into a central institutionally-owned server to watch a film in preparation for an upcoming lecture, or training people in several geographical places at the same time.

Included in this post are collaborative initiatives that benefit both parties – producer and cultural organization – using media. It makes the audience base larger while showcasing progressive agendas and cutting edge ideas. Everyone should think about what kinds of unique projects can be expanded on from even a portion of the films they are creating, or scenes that might have been deleted but still hold value. Admittedly, most of us would prefer to have an entire piece being seen but if a group of people can benefit from isolating a 5-minute clip, this should still be fostered.

Some recent impressive uses of media used by organizations in an online streaming capacity that create social capital and extend human awareness are:

The College of Direct Support began a Film For Thought (FFT) series, utilizing Body & Soul: Diana & Kathy as a tool for training direct support providers, state agencies, and colleges with personalized stories of people with disabilities. Body & Soul: Diana & Kathy is the story of two women with different disabilities – one with Down Syndrome and the other with Cerebral Palsy – who help each other to live independently outside of institutions and lobby Congress for disability rights.

Film for Thought (FFT) Courses are courses built on one film. Their curriculum is designed for learners to connect CDS courses, content, and learning to the main themes and story line of each film chapter. Learners are also asked to integrate this with their work as a Direct Support Professional or Frontline Supervisor. FFT courses will help learners see, hear, and feel how many of the issues are played out in the real lives of people with disabilities. Currently, over 800 individuals have used this course.

You can see more about the program by clicking here.

The Roshan Foundation is a nonprofit organization supporting the preservation, transmission, and instruction of Persian culture. In a pilot project to reach out to new students attending university courses in Asian studies, they decided to use cinema that came directly from the region and collaborated with AsiaPacificFilms.com, a streaming-only service that showcases over 500 films from every Asian and Pacific community worldwide. The foundation took 24 of those films and created a curriculum, with academic introductions, to provide faculty and students located anywhere immediate access to this cultural resource through a designated portal. You can see the creatively multi-layered result by clicking here.

It was a success and now a similar program focusing on Korea is in the works.

Freedom Machines, a film which originally aired on POV, about how assistive technology helps people with a variety of disabilities to actively participate in their communities, was placed on the internal server of Sun Microsystems, in its chaptered sections, for employee education. It was made accessible throughout all of their offices internationally to show how and why disability accommodations in the workplace are necessary. Progress Energy is also utilizing the film as part of its diversity initiative in explaining the complications of barriers in any corporate setting.

The film Monica & David, about a couple with Down Syndrome who gets married which was broadcast on HBO, collaborated with the American Council for the Blind. This unique partnership provided the filmmaker much needed accessibility features for creating their DVD while expanding the audience online to people who were visually-impaired by creating audio description. For the HBO broadcast debut, an audio described version of the film was produced with ACB Radio, who was able to enjoy a free simulcast stream that night. ACB Radio is American Council of the Blind's free online station.

These examples wouldn’t be on the top of anyone’s lists as initial ideas in marketing plans or distribution strategies, but they’ve all increased public awareness of important causes while providing some extra income, technical tools, or exposure for filmmakers. So I highly suggest keeping your eyes and options open for similar opportunities.

Rachel Gordon is a New York based independent filmmaker and consultant who started Energized Films to help other filmmakers, and distributors, expand the audience of their media into receptive homes in academic, non-profit, and other specialty markets. She’s currently developing a comedic feature about feminine fear of commitment, making a documentary about homeopathy, and speaking to film schools about the importance of teaching distribution to students.

Guest Post: Jacques Thelemaque "Independent Film (Dis)Integration Part 2"

Perhaps you read today's earlier guest post from Jacques.  But did you realize that The Filmmakers' Alliance fundraising campaign closes today?!  I hadn't, so I hadn't given until this morning.  Jacques explains below some of the great needs that are within our reach to solve: curation, aggregation, & organization.  Shall we seize the time?

Independent Film has been challenged of late. Perhaps it has always been challenged….and challenging. And perhaps that is a necessary aspect of the undoubtedly risky nature of Independent Film. But perhaps not. Perhaps those challenges could be alleviated somewhat if education was better integrated with experience, if funding was better integrated with worthy projects, if productions were better integrated with crews and resources, if good films were better integrated with distribution options and if, at the outset, potentially strong films were better integrated with fresh ideas and unique perspectives. I truly believe that can happen on the web with a single site employing a bit of curation, aggregation and organization.

First of all, curation. The stuff floating around the web that is really valuable to filmmakers needs to be found and selected - the best tools, apps, education and more. What is it that filmmakers need and what's the best incarnation of it? Communal editing space? Scroome. Film Festival submissions? Withoutabox. Virtual producer? Yet to be created. But something more than tools, apps and education needs to be found. We also need to find things that wrap all of that generic stuff into an ideological perspective that not only facilitates indie film viability but also the highest levels of creative ambition. What are the best blogs and forums? What kind of interface allows filmmakers to share ideas and perspectives? Someone or some group needs to act as a "trusted guide" for filmmakers - and not just a gatekeeper. Of course, there will also have to be community curation. Meaning, anything that exists on the site as a tool or resource should be open to review and feedback by users.

 

Secondly, aggregation. Once found and selected, all of this great stuff needs to be brought together. No one could possibly build from scratch or even recreate all of the great tools, apps and resources that exist for filmmakers out on the web. Instead, partnerships need to be created, which may also demand technological bridges to be built. The whole point is to avoid the needless hopping around from site to site, multiple logins and resource incompatibility that plagues filmmaking life on the internet at the current moment. But this is no easy task. Many sites charge fees for their tools/resources and/or jealously guard them for other reasons. They tend not to think holistically and instead stubbornly insist on trying to build communities around their single-purpose resource. So far, unless it is a indispensable resource without competition, such as Withoutabox, that approach has not served them. Hopefully, they can be made to see the wisdom in being part of a larger whole.

Thirdly, there is organization. You can't just throw stuff up on the internet randomly, although many sites seem to do it all the time, making finding things very difficult and efficient usage almost impossible. Ideally, resources, tools and apps can be organized intuitively for filmmakers - mirroring the process of production and/or film management. That means it all needs to be put together by  a group that understands the way filmmakers - especially indie filmmakers - think and work.

Fortunately, there is an organization that can do all of that. Not only can do it, but will do it. Filmmakers Alliance has been hatching a plan to for years to create just such a space for filmmakers. We've met with all manner of resistance and challenge, and the plan has been scrapped and rebuilt several times over, but we're still surging forward. We currently have a Crowdfunding Campaign underway to help us push it through to a first stage launch. From there, it will evolve organically, driven by the participation of filmmakers/users.  Our goal is to integrate the ongoing discussion about the state of indie film with the actual work. As discussed, we are building a site that is not just a tool, but a home for filmmakers - allowing them to not only access filmmaking and film management resources, but also exchange ideas and perspectives on filmmaking - all infused with a demand for creative ambition. We really want the community to challenge each other to take their films - and, subsequently, all of independent film - to the next level. The plan we have will facilitate it nicely with a lot of key partnerships and collaborative tools.

But why is any of this important? Simple. It will make filmmaking easier. There are many filmmaking orgs out there (along with various filmmaking sites), and they are there for a reason. Filmmakers need help. Lots of it. To this day, I get tons of calls and emails daily asking me for everything under the filmmaking sun. Clearly, filmmakers still need help educating themselves and accessing resources - anything from securing grants, to getting production insurance to finding good crews, to utilizing web marketing tools, to finding health insurance, etc. The easier we can make the filmmaking process, the faster we can move on to a conversation about the kinds of films we're making and how they can have a social and/or aesthetic impact on the world. And that conversation, too, will happen on the site.

 A website is NOT going to save Independent Film, I'm told. Perhaps not in and of itself. Great independent filmmaking that is well-distributed will do that. But education, intelligent discourse, access to funding and resources, shared creativity and inspiration are all tools to help create those great, well-distributed independent films. And a site that provides and/or facilitates all of that will indeed do it's part to create an Independent Film renaissance. It can, at the very least, facilitate some necessary integration on all levels and bring a sense of cohesion to a very disintegrated community. 

To see the crowdfunding campaign page, go HERE.

If you want a bit more detail about Filmmakers Alliance's new website, go HERE.

If you want to donate to the project, go HERE.

You can spread the word by going HERE.

 

 

Jacques Thelemaque is founder and president of Filmmakers Alliance - a filmmaking support collective in existence since 1993 through which hundreds of films have been made. He also makes films, his own and other people's, and is not ashamed of any of them.

 

The Next Step Towards Your Personalized Pleasure Planet

Suggestion engines tell you what might appeal to you: i.e. you loved "REPULSION" and "CACHE", so you will also like "MARTHA MARCEY MAY MARLENE". But if you are at all like me, you've already found enough movies to get you well past your life expectancy rate. It's now more you crave, but less! Now that we mastered the "find", is it time, to start the "ditch"? How do we get rid of that which has no applicability to our lives? Should we remove that which might not be to our liking forever from our discovery threshold?

Luckily we live in a world where we can say with an entirely straight face "Yup, there's an app for that!". Okay, maybe not so luckily, but I am serious about this. Serious that there is an app for that, and serious that maybe more attention should be paid at getting rid of what we already know what we don't want.

LibraryThing has an UnSuggester engine, and I am sure it is only a matter of short time before some clever nut with a bit of the 'ol cognitive surplus builds one for the viddy world. I know I would be far happier if I didn't know billions of dollars were being squandered on the type of movies I didn't want to see. Can't I just erase them from my life?

Unsuggester let's you know that if you liked a particular book there's probably a 100 other books that you WON'T like. If my Queue not only gave me recommendations for things I might like, but also let me remove 100 other items at a time, that I just don't want be bothered with, I would be progressing that much faster to the realization of my own Personalized Pleasure Planet. Sure we want to share what we want with our social graph (remember when they were simply friends!), but what about if we could share what we thought might suck? And what if they could import it (not the actual goods, but the suspected distaste, the simple removal list)? We are well on our way of getting rid of the interaction with anyone and anything that we have the smallest indication might be inappropriate for current level of appreciation.

The Unsuggester is a fun idea, but it also helps us focus on what is one of the wonderful things about art and culture in general. Some of the greatest pleasures we have are not just when we discover something new, but when that artwork helps to demonstrate how expansive we -- and people in general -- truly are. It goes far beyond the experience that young children often have with food that they have always refused to try and that look of semi-astonishment when they finally try it and find they have liked it all along.

The best art shows us that we are far more complex and diverse than any demographic can capture. One of the great pleasures of cinema is that in some circumstances it helps us empathize with characters that we never would have purely of our own volition. Cinema helps us embrace stories and styles that in other presentations we might have said "no, thank you, I prefer not" (or something far more ruder) in day to day life.

We are getting to the point that those discoveries and delights, and even the opportunities therefor, feel rarer and rarer. Film festivals offer a cornucopia of them. As many independent exhibitors morph more into community centers they were always destined to be, they to offer such transcendence of our daily limits. Mass consumer directed society may well be on its way to becoming a stealth version of the Universal Unseggester, and as sweet and shiny that may be for some, my Personal Pleasure Planet is a world of unknown cookies of true discovery, items and experiences I would have thought I would never have liked, but surprise me and remind me of what it truly means to share this planet with the rest of you.

Guest Post: Felicia Ptolemy "Tool Review: Transcendent Man on The Dynamo Player"

A while back we had Dynamo Player's founder Rob Millis introduce us to this useful tool for DIY Distribution. But how do the filmmakers using it, feel about the Dynamo Player? Today, Felicia Ptolemy, one of the producers behind one very successful film, Transcendent Man, shares their thoughts on the Dynamo Player. I look forward to sharing more direct reviews of the tools we use to get our work made and seen. If you are filmmaker using some of the innovative tools and methods that both necessity and opportunity has offered Indie / Truly Free Film recently, let us know your experiences. Write to me and we can run a post for the community, okay?

Transcendent Man is a film about the democratization of technology. Basically, exponentially growing information technologies are allowing for an explosion of new applications that are disrupting entire industries and offering powerful tools to people everywhere. Dynamo is one such tool, affording the filmmaker, directly, the opportunity to offer our audience immediate access to our film and ease of payment, which together create an instantaneous and seamless viewing experience.

With today’s audiences expecting and demanding to watch movies the way they want to watch them, Dynamo introduces the unique convenience of an embeddable video player that can be hosted on any relevant destination. We started by putting the film on our own website – the first place our potential viewers go to learn about Transcendent Man and find out where they can watch it. As a filmmaker, once you capture the interest of a viewer, you want to close the deal. There is so much content out there to distract people and by eliminating the need to go to another site to watch the film, we’ve captured the audience interest at its height. We also simultaneously put up the Dynamo player on our Facebook fan page, where many new and existing fans of the film go daily to share information and debate the ideas – it was a perfect spot to again access a passionate and interested audience (who can also easily share the film with their network) and offer the film for rent right there on the spot. By creating this flexibility and allowing us to embed a player right at the source, Dynamo gave us a tool to combat a primary challenge facing filmmakers today: content over-proliferation.

Also, with exhibitors still demanding a 90-120 day holdback to DVD release, Dynamo offers a more timely opportunity for our fans, which are demanding that a film like Transcendent Man should be available via many portals using any and all new technologies. This is the primary reason we wanted to use Dynamo, who was the first video player application that could accept safe, reliable forms of payment via trusted sites like PayPal. Couple that with the capability of embedding the video player on any website or portal where Transcendent Man is relevant to that site’s content and we have an exponentially growing audience who is not being blindly marketed to, but rather who have found the film naturally through their own likes and interests. Highly democratizing!

For these reasons and many more that we are still learning, Dynamo is a powerful tool for filmmakers and self-distributors. We’ve even had filmmaker friends learn about Dynamo through us and thank us for making them aware of a tool with so much potential. It’s a portal that offers access and convenience to a targeted audience and expands on your existing fan base organically across the web. It transcends the limitations previously put on filmmakers whose goal has always been to just get more people to enjoy their films.

-- Felicia Ptolemy

Felicia Ptolemy is an independent producer working in television and film for the past 10 years. She produces under the Ptolemaic Productions banner with her husband, Barry Ptolemy. Her most recent project, Transcendent Man, the documentary about Ray Kurzweil’s life and ideas, is available on DVD and iTunes.

Guest Post: Jordan Passman "Value What You Use: The Film + Music Equation"

Just because you can do something, does that mean that you should. Do short term needs always outweigh long term goals? Does obtaining services for less than they are worth make you a good producer? Last month Jordan Passman introduced us to his scoreAscore service, allowing filmmakers to connect with composers at prices they set. Today Jordan guest posts to expand on his vision to stop the marginalization of music in the film biz.

We fight for film music, and here's why:

"We won't be able to pay you but it'll be great exposure for your work!"

"This is an unpaid request."

"Ultra low budget, so no upfront fee"

There are an overwhelming amount of posts with these phrases in them on craigslist and others, and we need to stand together against them so they don’t completely ruin music for film. Films have inspired some of the greatest music of all time (Psycho, Jurassic Park, UP, Pink Panther, Star Wars & Forrest Gump), and it is our duty to keep this moving forward!

When you break down the filmmaking process, it's easy to see why music gets so frequently marginalized. Music is a final thought. A composer is almost always the last one to join the creative team, and at that point filmmakers have already spent their budget on production, talent, editors, DPs etc. The filmmakers who are posting the above headlines on craigslist exemplify a major problem in this business. Often times, they already paid their DP, editor, actors, make-up artists...but now it's time for music, and they have no money put aside for a composer, yet they expect someone to do the job at no cost. It's like losing 500 dollars in blackjack, and then being upset over the two dollar charge for the valet who parked your car. The two dollar valet fee pays the overhead and the employees’ time, but it hurts to spend that money when you're already in debt. I am confident that filmmakers still see the value in music for film, however, we need to remind them that it’s crucial to compensate composers for their hard work.

Composers should not be a last thought, but rather a key aspect of a film, one that merits fair compensation. The composers I know put everything they have into every job they have. They always deliver their best, even when they know they are underpaid or even unappreciated. It takes hundreds of hours of focus and dedication to deliver a film score (writing, orchestrating, recording, producing, mixing, mastering, etc.), and yet it's sometimes expected to be done to perfection, with little to no budget! We're in a world where the perceived value of music is less and less, and people think it can be created instantly on a computer. But in fact it takes an incredible skill set to create a powerful score. How do we instill the value of music into this artform? The solution is to put the choice into the filmmakers hands.

Because I am passionate about solving this problem, I created scoreAscore.com. I am a firm believer that "what you spend is what you get", and my experience running scoreAscore has proved this theory. Like all other creative individuals, the best scores are produced by composers who feel valued and appreciated. Anyone who has worked with professional composers on a project with a luxurious budget knows what they do to enhance a film. I want to create a healthy and fair way for media producers to find music, and for composers to contribute to projects. scoreAscore allows filmmakers to name their price for their music. The mission of scoreAscore is to value composers' work, so that all camps are happy. We can't afford to lose the professional composers in this industry, and if we don't pay them deservedly, we will lose the magic that music brings to films.

-- Jordan Passman

Jordan Passman launched scoreAscore.com in May 2010. Born and raised in LA, music has always been a huge part of Jordan’ s life. In his early career, he worked in the entertainment industry throughout college (Creative Artists Agency, Warner Bros. Studios & Warner Bros. Records). After graduating from Pitzer College, Jordan joined the Film/TV Membership Department of ASCAP (American Society of Composers Authors and Publishers) in New York.

Guest Post: Ray Privett: Past, Present, and Future Meet in ZENITH's Multi-Platform Release

Independent filmmakers are always on a search for new ways to get their films seen. Audience building is part of any practical artist's plan. The tools we have available for this improve consistently. Regular readers of this blog probably share my fascination for innovative approaches to distribution, particularly with efforts that put audience first. It's refreshing to see discussions that once were limited to the marriage of form and content to now embrace a three way coupling and add presentation (aka platform) to the mix. Do certain subjects or story-telling methods require unique forms of presentation? Ray Privett considers this in today's guest post.

"I know words no one else knows anymore." - dumb jack in Zenith

Readers of HopeForFilm.com are familiar with VODO and Bittorrent (both the protocol and the company). Gregory Bayne mentioned them in a HopeForFilm post about his release of Person of Interest, and VODO shows up in occasional lists here of filmmaker tools. That said, readers might be curious how bittorrent tools have been useful as part, rather than the entirety, of a release. One such release is Zenith, from my company Cinema Purgatorio.

Zenith is a film by Anonymous - no, not that Anonymous - which we've been releasing in extremely conventional as well as unconventional ways. Since long before the release began, Zenith has had an extensive online transmedia campaign. Then we played twenty-some traditional movie theaters as well as temporary venues, and did a fairly conventional cable VOD and DVD release. iTunes is coming soon. Meanwhile we have released the first chunk online under a creative-commons license, free to download with VODO and Bittorrent. After downloading, supporters help bring forth further chunks of the film, new materials, and limited edition Blu-Rays and masks. For $1000, you can even can meet a character from the film in person.

The VODO release, and the release in general, have been big successes so far. In the first ten days, more than 500,000 free-to-share downloads of Zenith's first 30 minutes led to more than $5000 in audience sponsorship, and notable increases in film-related website pageviews and mailing lists.

Would we like more? Well, of course. However, we've thought of this also as a way to celebrate and share the meta world of the film, increase the general viewer base, and develop ongoing relationships with fans. Hopefully our successes are only just beginning.

Not all projects would benefit from a promoted VODO / Bittorrent release as much as Zenith. Zenith's cyberpunk atmosphere, surplus of internet paraphernalia, and - most importantly - achievement as filmmaking qua filmmaking likely resonate with the bittorrent userbase. Also, Zenith's time-jumping, cliffhanging, idea-heavy substance - think The Da Vinci Code / Blade Runner / The Big Sleep - works well with the serialized, participatory release method that bittorrent and VODO can provide. Contemplative documentaries and slow burn chamber dramas might not function well in this forum; however, disruptive, episodic cliffhangers can. Or, in a different direction, harrowing, up to the minute, war-zone reportage that needs exposure to and funding from strangers might benefit from a modified approach, if they can take the time to develop the infrastructure (which is a big if).

Offline, and in private, some of our esteemed colleagues have criticized Cinema Purgatorio for pursuing a relatively traditional release on such a forward thinking film. I understand their perspective; Vladan Nikolic - who may or may not be "Anonymous" - even was cautious about the "theatrical" and DVD release. However, without those traditional elements, we wouldn't have achieved the same level of press coverage and relatively secure income from traditional sources as we have. We would have depended too much on the technology of the future to achieve a release in the present. That's fine for people who have infinite venture capital behind them, and who are more interested in proof of futuristic concept than in contemporary result. But for a release with more modest resources, and which actually must stand up and run on its own feet, I think this has been the right way to go. Zenith's release has looked both forward and backward, using methods of the past and the future to achieve a unique and successful release in the present.

For me the question is this: As Zenith is a film set in both the present and the future, which is deeply enriched by past science fiction filmmaking and literature, does our multi-platform release resonate with the substance of the film proper better than a purely digital release would have? Vladan Nikolic and the other filmmakers, and everyone in the viewing community, are the most important ones to answer that question. I look forward to ongoing discussion with them as the release continues forward, and I look forward to seeing how other filmmakers - hopefully many of them real independents, other true "Anonymouses" with no connections to big powerful players - use bittorrent-related methods into the future.

-- Ray Privett

Ray Privett is founder of Cinema Purgatorio. He ran New York City's Pioneer Theater and managed Facets Video's Exclusive DVD line when each was at its most successful.

Don't Wait: Get The SUPER App(s) Now

Why wait until you see my latest film? You can get the iPhone app now for free. Our official one, produced by PUNY (the geniuses behind our great title sequence) is available for iPhone, Android, and Facebook. Get it here. If you have the gene where you need to be totally complete, there's even more you can get right here. Don't you love this modern life? You aren't a movie unless you have an app, and the really cool films have two!

One Way To Reduce Cost While Increasing Quality

I once had dreams that our movement away from an impulse buy based entertainment economy, over into one based on choice and commitment, would lead to greater demand and thus increased funding for diverse, ambitious work of quality. Sigh... It seems, though, that the planet I live on asks those of us who care about such things to do more for less. Unlike some, I think there is a surplus of immensely talented folk out there with great stories to tell in interesting ways. Unfortunately, it is really hard for most artists to do great work on their own. And that's where producers come in. So it's completely frustrating when we are trying to do more work, but there is far less funds available to work with. What are we supposed to do? Fortunately, not only does the technology improve, but there are some people out there who keep coming up with good ideas for our benefit. Today, I have a new one of those for you, one that can help you produce good movies for less money: scoreAscore.

I am going to let xcoreAscore's founder tell you all about it:

I’m Jordan Passman, founder and CEO of scoreAscore.com. I created scoreAscore to connect professional music composers and quality media producers. Why scoreAscore? There are big project owners who can pick up the phone and call one of the top film composer agencies to find what they need. On the opposite end of the spectrum, there are film producers scrounging through overwhelming music libraries looking for great music.

With our Name-Your-Price system, scoreAscore.com gives you original music in an easy-to-use, safe and efficient environment. Each composer is a professional who has been personally screened; some have even won Emmys and been nominated for Academy Awards.

We offer 24/7 access to composers and their music, with a mission to pair the next John Williams with the next Steven Spielberg. Our current clients include: Directors, Producers, Ad Agencies, Video Game Publishers, Trailer Houses, Music Supervisors and more! Check us out. Feel free to reach out to me directly at anytime.

Take 50 seconds to check out this animation, explaining how scoreAscore works: scoreAscore.com/learnmore.php

Happy Scoring!

Jordan Passman

CEO/scoreAscore.com jordan@scoreAscore.com

Jordan Passman launched scoreAscore.com in May 2010. Born and raised in LA, music has always been a huge part of Jordan' s life. In his early career, he worked in the entertainment industry throughout college (Creative Artists Agency, Warner Bros. Studios & Warner Bros. Records). After graduating from Pitzer College, Jordan joined the Film/TV Membership Department of ASCAP (American Society of Composers Authors and Publishers) in New York.