tips

Using Pinterest for your Film

Written by Sheri Candler, co author of Selling Your Film Without Selling Your Soul

This post was originally published on February 21 on Sheri Candler Marketing and Publicity’s blog and republished with additions on the Tribeca Future of Film blog February 27.

I know, collective groan “yet another social network to keep up with?” Seems like there is a new one born every minute and many of them fail to get off the ground. But here is why Pinterest might be a site you should consider using for your production.

-In just one month (December 2011-January 2012), Pinterest saw traffic increase over 155% and over the last 6 months, traffic increased by 4000%. As of this month, they had over 11 million unique visitors to the site and over 10 million registered users from all over the world.

-Statistics show Pinterest drives more referral traffic on the Web than Google+, YouTube, Reddit and LinkedIn combined. The beauty of pinning photos/videos is they link back to websites, thus driving traffic. They are nofollow links, so it doesn’t help with SEO, but any link that drives traffic to a site is good for awareness and conversion.

-Mainly, the site now attracts women in the age range 25-44 who love fashion, home decorating and family related products. As it gains more of a following, this is bound to change. Still, if that is a target demographic for your film…

-Activities are based on images so rather than having to write a lot, you can simply post photo collections and they don’t even have to be your own photos! I think this is the highly attractive thing about Pinterest, in fact I am hearing about Pinterest addiction. Users typically spend 11 minutes on the site each visit. User scanning pictures is a lot more enjoyable than scanning status updates on Facebook clearly. Plus there is no EdgeRank to deal with. Once someone decides to follow your boards, they continually see new additions you make in their stream whenever they log in.

-The key for users doesn’t seem to be gaining followers, but gaining repins meaning they want to have people think what they pin is cool (or hot, or whatever). They strive to be INFLUENCERS and that is exactly the people you want to find and connect with. Because people can follow boards they find interesting, it is possible to have many more followers on your boards than you do on your account profile.

-It integrates with your other social accounts like Facebook and Twitter and hopefully Google Plus is coming. There are embed badge widgets you can install on your website to integrate all of your social channels. Word of caution, at the moment the site only connects to Facebook PROFILES not business or professional pages, so you probably shouldn’t opt to sign in with Facebook if you are using this for your film, just sign in with your email and don’t connect to Facebook. If you want to tie Pinterest to your Twitter account, make sure it is the one you use for your film and when G+ comes online, make sure you have signed up using a gmail account for the production, not for your personal gmail account. However, other users can sign in with their social accounts and things they pin show up in their Facebook or Twitter stream, very handy for word of mouth spread about you and your film.

There is a “scoreboard” of sorts showing how many boards and followers you have over all, as well as followers of only certain boards and repins of your pins. The site also allows you to glean from others what they are interested in. You can start to “listen” to what your potential audience thinks is interesting by viewing what they select to pin. You don’t follow people as much as you follow things, ideas, topics on Pinterest. You can repin something someone else has posted and this can open the door to a conversation. They can do the same with your pins and you are alerted via email when someone does this and it shows under that image on your board. This is an enormous help when you are trying to figure out what to post, what boards to create, what resonates most?  While Facebook is about people and brands, Pinterest is about things and interests. You can only post images or video and some comments and tags in text on your boards.

I only recently started using it for the Joffrey project I am working on which is why all of my boards are devoted to that. Looking at them gives a good idea on the kind of thing you could use it for on your production. In my workshop presentations, I talk about posting regularly on your social channels and not just information directly about your film, but also about the interests of your audience; those who would be a fan of your film and of yourself as an artist. I am using the boards to show Joffrey history through pictures and videos; the ballets they created, the ballets they revived, their alumni dancers, Robert Joffrey through the years as well as photos of the merchandise available to buy through our site. It’s a balance of audience interest and promotion for the film.

I noticed Ted Hope is using his boards to express his personal interests , things and people he admires and wants to draw more attention to, his artistic accomplishments and resources he uses that he thinks would be helpful to his connections. All of these things help in attracting an audience both to his films, but also to his professional life as a producer. His personal tastes are reflected in all of his boards and none are devoted to posting family vacations! The point being, we can get to know Ted as a professional person without his having to reveal too much private information.

Other artists in the indie film space currently starting to use Pinterest are writer/director James Gunn; transmedia educator/artist Christy Dena who uses her boards to showcase ideas about narrative, interactive and game design ideas she has discovered;  filmmaker Erik Proulx has created boards that show his advertising and design background and what he finds inspirational for this. You may remember his short film Lemonade about those who were laid off, particularly in the advertising industry, and found inspiration to reinvent their lives completely. I think Erik is kind of into these inspirational, motivational, life changing stories which is why he is making another film called Lemonade Detroit about a city that is reinventing itself. Filmmaker Gary King uses his boards to show his inspirations, showcase actors and actresses he loves and his career accomplishments. Film blog Film School Rejects uses their boards to keep readers updated on this year’s Oscar contenders, interesting movie posters their readers might like and films they are watching.

Pinterest is just getting started so don’t be alarmed that you have missed the boat. You still have first mover advantage here. You must join by invitation only, but those invitations aren’t difficult to obtain. You can request one on their site.

A word about self promotion

As with any social network, you should be using Pinterest to directly connect with audience on a personal level, not as a one way promotional channel. Use creative ways to showcase your personal identity and vision and use it as a magnet to attract those most interested in what you, as an artist, have to say. You will find your audience is much more willing to stay with you across projects when you are mindful of their interests.Sho us your style, the way you see the world, the way you tell a story, not just “buy my DVD.” Contribute something of value to the community, and they will keep coming back.

Populate your boards before you start trying to add followers. As with any new endeavor online, you need some interesting content first. You wouldn’t promote a website that only has a landing page that says coming soon, so start by thinking through what you want to say about yourself and your work, who are you trying to attract (this could be different types of audiences, which is fine), and analyzing visuals you can use from your own assets. Also, the account can have more than one contributor which is good for sharing the responsibility of board maintenance with your marketing team.

As with anything you do online, track referral traffic coming to your site via Pinterest. If you use Google Analytics, you can find out how to do this here

Pinterest is dead easy to get started on, but if you like tutorials, watch this video.

Pinterest jargon

A Pin-an image added to Pinterest by a registered user

A Pinner-someone who is a registered user of Pinterest

Pinning-the act of sharing an image on Pinterest

A Pinboard-a collection of pins usually categorized around a topic, interest or theme

Repin-sharing some else’s pin on one of your own boards

Pin It Button-a widget badge one can embed on their website to let others know about a Pinterest account. Also a bookmark shortcut one can add to a toolbar to easily pin something  seen online to one a board.

 


Highlighting 10 DIY Tools & Services You Should Know About

Since we are completely committed to providing you with information that will make your filmmaking lives easier, today’s post looks at tools. Many of these services are found in the book Selling Your Film Without Selling Your Soul with explanations as to how the filmmaking teams utilized them. Or they are ones that we reached out to for support of the book because we believe in what they’re doing.  For sure there are others to be covered in future posts.

 

1. Amplifier– ECOMMERCE TOOL-

This company powers the estore for Nina Paley’s Sita Sings the Blues. She sells DVDs (both standard edition and artist signed edition), tshirts, necklaces, pins and soft toys. Amplifier is an ecommerce tool that allows you to sell custom merchandise directly to your fans, cutting out the retailer middlemen, by providing fulfillment and customer service. If you don’t have a warehouse and staff and equipment to store, pack and ship your merchandise and deal with any complaints (and I know you don’t), Amplifier takes orders from your site, stores your merch in their warehouse or fulfills just in time merchandise, ships it out and handles any customer problems seamlessly. They can also service custom orders (like give freebies to any order over $50 if you want to do that, or they can fulfill print on demand merchandise) all under one roof.

 

2. Believe Limited– Monetizing YouTube and Viral Videos

Adventures of Power utilized this service to help raise their Youtube profile. There is a whole section in the book written by Ryan Gielen about what Believe did for the film. The gist of their service is video marketing that helps a film reach the top spots on Youtube, Amazon, iTunes etc by spreading video content around, collecting large amounts of views, comments and subscribers (in the case of Youtube). They design branded channels and help craft video content that is compelling enough to spread and help seed it around the Internet to ensure that it spreads. According to their service sheet for a $50K campaign that runs 6 months, they recommend creating 20-25 pieces of video content that they can drive roughly 5-6 million views on Youtube. They start from the film’s target release date and work backward to help plan out the content release strategy that will ensure a continuous build up of interest and viewers. 

 

3.  ConneXtion – Fulfillment services of all Media

Jon Reiss recommended them to handle fulfillment for our book and he has been happy with them as is Topspin which considers them a preferred vendor.  The ConneXtion was founded in 1997 and has been running the direct2fan (d2f) business for artists, labels, authors, filmmakers, comedians, nonprofits ever since.  They’ve worked with films such as The Yes Men.  They handle fulfillment and manufacturing for DVDs, CDs, Merch, books both on digital and brick and mortar side.  COSTS are: OFFICIAL D2F STORE: $200 setup fee & 80% paid on all physical items and digital albums sold direct2fan. DISTRIBUTION to DIGITAL RETAIL: No setup fee; 85% paid on each dollar from retail. ConneXtion’s services are: DISTRIBUTION -D2F:  physical and digital cds/merch/etc sold via an estore; DIGITAL to RETAIL (ie iTunes, Amazon, Emusic/400+ others); PHYSICAL to RETAIL (ie. brick and mortar stores); DISTRIBUTION of PHYSICAL items via AMAZON, eList/Newsletter Management (coming Fall 2011), Tix, Licensing, and Clearance of Cover Songs,  and eMarketing.

 

4. Dynamo Player Direct to Fan Distribution Tool

Filmakers use Dynamo Player by embedding the video viewer on their own website and by having a film’s fans embed it on their websites or blogs for a rental period of the filmmaker’s choosing. Prices are set by the filmmaker, payment is immediate via Paypal and a monthly statement is sent letting one know how many streams were sold, geographic information, and where the traffic originated. Dynamo is non-exclusive and enables any filmmaker to immediately upload their film, set a price, publish the film on their own site and elsewhere with no up-front costs or monthly fees. Filmmakers receive 70% of every transaction, every time, with no hidden costs, no matter what features they use and they get paid immediately by every viewer, no matter where they watch the film. They can include a free trailer, supplemental videos, multiple language versions and other bonus material at no additional cost. Viewers pay easily with PayPal, Amazon or credit card in just a couple of clicks. A single-click auto-debit option is coming soon as well. Payments are made to the rights holder by PayPal or Amazon, on-demand, at any time. Some filmmakers get paid every week if they want and we are happy to write checks for high volume publishers. Dynamo accepts all currencies and works in any country.  Dynamo provide sales numbers and a range of related data by day, week, month or by a custom range of dates. Sales statistics are immediately available, so there is never a need to wait for a monthly report to see your sales performance, but a formal downloadable or printable monthly report will be available in July. Filmmakers can also see statistics for trailer views, player interaction, payment follow-through and more, so they can gain insight into viewer behavior and tweak the presentation of their film to boost sales.  Filmmakers can control access by DVD Region, continent or country with a simple set of checkboxes. Dynamo enables geo-blocking at no cost because we consider it absolutely necessary for independent filmmakers to have this option while shopping their films in different markets. Dynamo often includes films in public announcements, blog posts, tweets and other marketing efforts. Dynamo filmmakers have been featured in stories on IndieWire, GigaOm and other media sites, and have earned new sales when their films have been embedded within the articles.

5. EggUp DIY Distribution Platform / Tool

EggUp is a publishing platform for filmmakers and film distributors. They note that they “help filmmakers and distributors rent and sell their films online while preventing piracy”. Their free online publishing tools can help one distribute and sell film or video which is all packaged and encrypted into a file called the “Egg”. The Egg is made available for download and allows consumers to watch and share with friends and family virally while filmmakers are able to make money. With EggUp gets a website to promote their film together with an integrated pay per view solution. They also list your films in our film catalog called GoEggit. One can distribute the Egg on a website, and other online retailers with your very own buy now button without setup fees and inventory.  They are Worldwide and can Geo Filter as needed.  Again the key is marketing one’s film; they can’t do it for you.

For pricing and fees etc go to:

http://www.eggup.com/how_it_works/transactionfees

http://www.eggup.com/pricing

6. DISTRIFY– DIY Distribution Toolset

One can use Distrify to sell a film anywhere on the web and via social media platforms by embedding their widget. Ideally one gets one’s fans to embed the widget on forums, blogs, websites, etc.. If your trailer and film are on Distrify, when you share the clip, you’re also sharing the store to buy the film or find out about upcoming screenings. When your audience shares it further, you’re always spreading the point-of-sale along the way. Anyone who shares it gets paid a share of sales they generate. One does not have to start selling through Distrify right away – one can use it to promote screenings and events through the trailer interface. If the film’s not available in the user’s area, they can make their interest known directly through the player as well. Distrify compiles the statistics for filmmakers and give them the mailing list data – all part of their service. Any new screenings you add are also automatically listed in all the players that have been embedded around the web. And when one wants to start selling the film, one can add it as well. There are no up-front charges, fully non-exclusive, and they don’t need any rights.  They take a 30% transaction fee on sales and split the 5% affiliate revenue with the filmmaker. Distrify worked with Adventures of Power and is also working with Lionsgate in the UK, for example.  Excerpt from the book regarding Adventures of Power: “In terms of the player/purchase options, Ari noticed a huge emerging fan base in Mexico that he speaks of in his interview. He realized 50% of his 100,000 Facebook fans were in Mexico. Distrify added Spanish closed captions as well as English and they introduced streaming as an option in Mexico. They’ve been told that several companies prevent streaming in Mexico, and they added the Mexican Peso as a currency that people can sell with.” The Adventures of Power team was especially impressed with the Facebook tab – which will soon have customizable art, html linkage, and of course, the Distrify player widget.  It’s easy to add (embed) the widget – so not only is it easy to get on the film’s website and blog, etc. but it is easy for affiliates to embed as well. NOTE: The key will be to have consumers be comfortable with buying films this way and via DIY services in general and that should get easier and easier with time. And of course marketing and publicity are up to the filmmaker’s team as usual.

7. LBi ePR and Internet/Viral Marketing Services

Case study Adventures of Power utilized LBi for their ePR services paid for by their distributor Phase4. LBi focused on media placement for trailers and news stories on a large array of film and entertainment websites. LBi provides a multitude of services, including social media maintenance, but AoP did not find their “voice” authentic for the film’s social media sites and instead funneled the firm’s work into utilizing relationships with website editors and bloggers to secure unpaid editorial features for the film, a useful service since filmmakers typically do not have these relationships.

8. Prescreen -Streaming PLATFORM

Prescreen is a new platform that curates films and distributes them via a daily email to an opt-in audience.  Their list is presently approximately 40,000 and growing daily. It is free to sign up to receive the Prescreen daily email. One has the opportunity to ‘rent’ the movie to stream. Each movie they feature lives on Prescreen for 60 days (and this is an exclusive period in terms of digital distribution). On Day 1, the movie costs $4 and one will have up to 60 days to view the film; while on Days 2 – 60, the movie costs $8 and one has 60 – (x days) to complete the film. Though a moviegoer has up to 60 days to complete the film, ‘renting’ on Prescreen is similar to that of any other the other mainstream steaming services offering 48 hours to complete the film once one starts the stream.  TFC worked with Prescreen for its first film during the Beta phase, HOW TO START YOUR OWN COUNTRY, and the numbers of transactions are as follows:  As of 10/18/2011 (when this was drafted) the movie will still be available on Prescreen for another 27 days, so the numbers will probably change. 19 sold during Private Beta; 46 sold on Day 1; 18 sold after Day 1 (21% of total sales have come after Day 1).  Prescreen noted: “This 21% is consistent with the breakout we’re seeing for other movies as well. Across the site we’ve seen about 22% of purchases come after Day 1.” RE: The 60 Days and WINDOWS (I quote Shawn Bercuson Founder & CEO): “Individual filmmakers typically view Prescreen as a marketing and distribution outlet while bigger libraries and producers tend to see prescreen as a promotional tool given the finite amount time a movie lives on Prescreen (60 days)… We built Prescreen as a way for content owners to gain more visibility into their target market and transparency about their core audience. At scale, we believe Prescreen is most powerful when used as a promotional tool along side other distribution windows in other mediums (theatrical, DVD, etc). By doing so, a content owner is able to leverage existing marketing dollars from other windows and capture (and capitalize) on the audience however way they want to consume online. Once the content owner understands his/her audience, they can market within the digital medium much more efficiently and cost effectively. “

9. SonicbidsPAIRING BANDS TO BRANDS

Sonicbids is an online matchmaker between bands looking for gigs and promoters and brands who need music. According to their website, their mission is to help create and empower an Artistic Middle Class through the use of innovative technology. The site helps fashion an EPK for bands who are looking for bookings, either live or in partnership with brands (your film is a brand) so that they may be found by promoters or marketing people. They also allow bands to search people looking for talent for international music festivals, clubs, songwriting contests, radio, licensing and more and vice versa. This how Hunter Weeks and Mike Dion found music for their film Ride the Divide‘s soundtrack.

Excerpt:

“In the case of Ride the Divide, they specifically targeted bands that lived in one of their niche communities. They used a source for music called SonicBids.com, where musicians offer their music for use in films, events and concerts. Half of the musicians in RTD came from Sonicbids and they specifically searched for musicians from the states along the Rocky Mountains.”

10. VODOPeer-to-Peer (P2P) Monetized File Sharing

Case study Pioneer One has been releasing their episodes on VODO since day one. To date, their series has been downloaded over 3.2 million times and raised almost $80,000 for the production costs through fan donations.

According to their website, VODO was launched in late 2009 to help creators promote and distribute their independent films, music and books using Peer to Peer technology [some call them pirate sites]. VODO believes there is immense untapped potential for independent creators in P2P distribution and that the new model of networked, free-to-share, peer-powered distribution will soon present better opportunities for creators than the old scarcity-powered models (theaters, DVD, etc.). Each month they release and promote one free-to-share film, in conjunction with their distribution partner BitTorrent and viewers are encouraged to donate funds to the productions they view. Pioneer One raised $30,000 in its first eight weeks using VODO. The Yes Men Fix The World raised over $25,000 in its first month using VODO.

FULL DISCLOSURE: Both Prescreen and Dynamo player sponsored our book but we pursued them because we believe they provide a good service to films and filmmakers and are great solutions.

 

The Porno Clause and Other Legal Tips Filmmakers May Not Know, But Will Wish They Had

Legal counsel, Cherie Song, wrote this post originally for indieWire and we thought it was so good (especially the title!), we’ll repost it here.

Full disclosure: There’s no end to the legal rigamarole that accompanies any film’s distribution and this article will not make it any shorter. However, the only thing that’s worse than paying legal fees is wishing that you had. So with that in mind, here are four items that could be overlooked on your legal checklist and absolutely should not be.

The Porno Clause
Otherwise known as section 2257 of Title 18 of the U.S. Code, this is the law that was enacted not long after the Traci Lords scandal in 1986, which very nearly took down the adult industry altogether. And while odds are none of your actors actually have sex on camera, your film might contain a simulated sex scene. And if it does, you may be subject to the record keeping and labeling requirements of Section 2257A.

Section 2257A is an extension of the enforcement guidelines for the Child Protection and Obscenity Enforcement Act of 1988. In short, that law requires producers of visual depictions of actual sexually explicit conduct to 1) maintain records to ensure that actors are not minors and 2) to label materials containing such depictions with the location of the records. In 2006, it was broadened to include depictions of simulated sexually explicit conduct with the addition of Section 2257A. Either way, failure to comply is a criminal offense.

There’s an exception if you’ve filed what’s called a “safe harbor” exemption letter with the U.S. Attorney General certifying, among other things, that you collect and maintain IDs of all performers.  As “secondary producers,” distributors also may be required to maintain records that identify the filmmaker for any depiction and that verify the filmmaker checked the legal age of performers prior to the date of original production, so a growing number of distributors are requiring safe harbor letters from filmmakers to minimize liability.

The Out Clause
You’re sick and tired of waiting for the company to live up to its promises. You’ve had it and want out. Where do you go from here?

In the context of a distribution deal, you want your contract to contain a clearly written default/termination provision that allows you an “out” if the distributor fails to do something material—say, pay you overages or send you statements. In addition, you should have an “out” if the distributor files for bankruptcy or assigns the contract to an unaffiliated third party who may or may not be able to live up to the promises made by the original distributor.

Make sure your rights automatically revert to you upon termination, subject to any presold territories. Then you can take your film and try to monetize it in any unsold territories. That’s not an easy task, but it’s better than the alternative of being stuck in a bad relationship.

The Trigger Clause
If you’re getting a minimum guarantee (usually paid out in installments), your contract should contain clearly defined triggering events for payments and a time period within which they should be made. If distributor fails to pay the full minimum guarantee within a certain time period, you should have the right to terminate the agreement, get any materials in distributor’s possession returned to you and all rights granted to the distributor should revert to you so you can take your film elsewhere.

The Clause Clause
Otherwise known as defining your terms. Oddly enough, it’s normal (as in ordinary) for distribution contracts to contain terms that are undefined or defined only “in accordance with industry standards.” Some filmmakers prefer Independent Film and Television Alliance definitions because they’re believed to be more “fair” than those contained in some distributors’ contracts.

In a way, it doesn’t matter what your preference is—only that you have one. Identifying terms that demand definition, and understanding them to your satisfaction, can make the difference between legal protection and giving your rights away.

For example (and this is only one of many), if you want to stream your film on your website or social networking pages, make sure the definition of “Digital Rights” in your contract excludes this right. A reservation clause might read: “Notwithstanding anything to the contrary contained herein, Licensor shall retain the right to [list reserved rights].” In all cases, you should have a qualified distribution attorney review the contract to make sure it reflects the deal you made.

Cherie Y. Song is an entertainment attorney and legal counsel for The Film Collaborative.

Our Los Angeles book launch takes place at the Young Library at UCLA this Friday October 28. If you plan to attend, please RSVP. There will be printed books for sale autographed by the authors as well as food and drink.

As always, you can  follow us on Facebook where we post regularly and read our posts on Twitter under the hashtag #syfnotsys.

 

8 tips on on planning, negotiating deals and releasing your film digitally

Co author Orly Ravid is our resident expert on negotiating digital distribution deals and it is something that the organization she co founded, The Film Collaborative, helps filmmakers navigate often. Here are her tips on planning, negotiating deals and releasing your film digitally.

1.  CARVE OUT DIY DIGITAL:

Distributors and Foreign sales companies alike often want ALL RIGHTS and including ALL DIGITAL DISTRIBUTION RIGHTS.

What to watch out for overall is not the purview of these tips, however this is:  No matter what, at least CARVE OUT the ability to do DIY Digital Distribution yourself with services such as: EggUp, Distrify , Dynamo Player, and/or TopSpin Media , on your own site, on your Facebook page, and also directly to platforms.  Several of our case studies employed or will now employ these options even when sometimes also engaging in traditional distribution (e.g. Adventures of Power, Violet Tendencies, American: The Bill Hicks Story to name few). Platforms and services can almost always Geo-Filter thereby eliminating conflict with any territories where the film has been sold to a traditional distributor and often times a distributor will not mind that a filmmaker sells directly to his/her fans as well in any case. ADDITIONALLY, since I wrote this blog Prescreen, www.Prescreen.com launched its platform and we used it and so far it seems like really a great way  to boost the profile of a film and jumpstart one’s digital distribution.  It worked well for How to Start Your Own Country and we are trying other films now too.

2.   PLATFORMS ≠ AGGREGATORS ≠ DISTRIBUTORS:

Platforms are places people go to watch or buy films.

Aggregators are conduits between filmmakers/distributors and platforms. Aggregators usually focus more on converting files for and supplying metadata to platforms and that’s about it.  Marketing is rarely a strong suit or focus for them but it should be for a distributor, otherwise what’s the point? Aggregators usually don’t need rights for a long term and only take limited rights they need to do the job.

Distributors usually take more rights for longer terms.  Sometimes distributors are DIRECT to PLATFORMS and sometimes they go through AGGREGATORS.

It makes a difference because FEES are taken out every time there is a middleman.  Filmmakers should want to know the FEE that the PLATFORM is taking (because it’s not always the same for all content providers though usually it is other than for Cable VOD, for example) and  know if a distributor is direct with platforms or goes through an aggregator.  Also, filmmakers should have an understanding what each middleman is doing to justify the fee.  On the aggregator/distributor side, we think 15% is a better fee than 50%, so have an understanding of what services are included in the fee. If a distributor is not devoting any time or money to marketing and simply dumping films onto platforms, then one should be aware of that. Ask for a description in writing of what activities will be performed. Companies such as New Video (worked on our case studies Bass Ackwards, Note by Note and Best and the Brightest) function well as both a distributor and an aggregator.

3. THINK OF DIGITAL PLATFORMS AS STORES

A film should try to be available everywhere however sometimes that is too costly or not possible and when that is the case one should prioritize according to where the film’s audience consumes media. Think of digital platforms as retail stores.

Back in the DVD days (which are almost gone), one would want a DVD of an indie film in big chains such as Blockbuster and Hollywood Video but especially a cool, award winning indie would do well in a 20/20 or Kim’s Video store because those outlets were targeting a core audience. With digital, it’s the same.

While many filmmakers want to see their films on Cable VOD, some films just don’t work well there. Some films make most of their money via Netflix these days and won’t do a lick on business on Comcast.  Other films do well on iTunes and some die there whereas they might actually bring in some business via Hulu or SNAG. Docs are different from narrative and niches vary.

Know your film, its audience’s habits and resolve a digital strategy that makes sense. If money or access is an issue, then be strategic in picking your “stores” and make your film available where it’s most likely to perform. It may not be in Walmart’s digital store or Best Buy’s. Above all, if you dear filmmaker have a community around you (followers, a brand), your site(s) and networks may be your best platform stores of all.  Though there is something to be said for viewing habits, so I do recommend always picking at least a couple other key digital storefronts that are known and trusted by your audience.

4. CABLE VOD LISTINGS

By now many of you may have heard that it’s hard to get films marketed well on Cable VOD platforms. Often the metadata either isn’t entered or entered incorrectly and it’s nearly impossible to fix after it goes live. Hence, oversee the metatags submitted for your film and check immediately upon release. Also, since genre/category folders and trailer promotion are not always an option for every film, it is the case that films with names starting in early letters of the alphabet (A-G) or numbers can perform better. Then again, there’s a glut of folks trying that now so the cable operators are getting wise to this and not falling for it. All the more reason to focus on marketing, marketing, marketing your title, so audiences are looking for it and not just stumbling upon your film in the VOD menu. There are only going to be more films to choose from in the future, not fewer.

5. ART must work SMALL

Filmmakers, if there is one thing I must impart to you once and for all it’s this:  TAKE GOOD PHOTOGRAPHY!!!  Take it when making your film.

Remember, most marketing imagery if not all for digital distribution (which will be all of “home entertainment”) must work SMALL so create key art and publicity images that also work well small and in concert with the rest of your campaign. Look at your key art as a thumbnail image and make sure it is still clearly identifiable.

6. KNOW YOUR DIGITAL DISTRO GOALS

This harkens back to Jon Reiss’ points. I have seen distribution plans wasted because a vision for the film’s path was not resolved in time to actualize it properly.

If your film is ripe for NGO or corporate sponsorship and you want to try that, you will need loads of lead time (6 months at least!) and a clear distribution plan to present to potential sponsors (who will always need to know that before agreeing).  If making money is a top concern, then know how YOUR FILM’s release is mostly likely to do that and plan accordingly. It may be by collapsing windows or it may be by expanding them. All films are different and that’s why our case study book has different examples to look at.

American: The Bill Hicks Story for example did Day & Date Theatrical/VOD with Variance & Gravitas.  That strategy can increase revenues, but is not for every film so know what sort of release makes sense for the film before starting so you don’t inadvertently lose out on options. With Prescreen now an option, if interested, one needs to carve out that window before EST (electronic sell through) / DTO (digital download to own) and streaming digital rights are sold. TFC is doing this with the film HOW TO START YOUR OWN COUNTRY for example. If showing the industry that your film is on iTunes matters to you for professional reasons more than financial then know that is your motivator but also understand that getting a film onto iTunes does not automatically lead to transactions, marketing does.

7. TIMING IS EVERYTHING

Digital distribution often has to be done in a certain order if accessing Cable VOD is part of your plan. That is not the only reason to consider an order and an order is not always needed, but it can be a consideration.  Sometimes Cable VOD is not an option for a film (films often need a strong theatrical run before they can access Cable VOD) and, in this case, the order of digital is more flexible and one can be creative or experiment with timing and different types of digital. However, Cable VOD’s percentage share of digital distribution revenues is still around 70% (it used to be nearer to 80%) so if it’s an option for your film, it’s worth doing, at least for now.

It is very often the case that if your film is in the digital distribution window before Cable VOD (on Netflix for example), that will eliminate or at least dramatically diminish the potential that Cable MSO’s (Multi System Operators) will take the film or even that an intermediate aggregator will accept it.  There is more flexibility with transactional EST (electronic sell through) / DTO (download to own) / DTR (download to rent) services such as iTunes but much less flexibility with YouTube (even a rental channel) or subscription or ad-supported services such as Netflix (subscription) or Hulu (which is both).

Films that opted to be part of the YouTube/Sundance rental channel initiative (such as Children of Invention) could not get onto Cable VOD after. The Film Collaborative has to hold off on putting films in its YouTube Rental Channel if cable VOD is part of the plan.  Of course, there are exceptions to every rule due to relationships or a film proving itself in the marketplace, but better to plan ahead than be disappointed.

Companies such as Gravitas are also programmers for some of the MSOs so they have greater access to VOD, but they too discourage YouTube rental channel distribution before the Cable VOD window and they do Netflix SVOD (Subscription Video on Demand) distribution after. In general, films are often released on transactional platforms first and ad-supported last with Netflix being in the middle unless it’s delayed because of a TV deal for example. This is not always the case and some distributors have experienced that one platform can drive sales on another but in my opinion it depends on the film and habits of its audience.  You should know that Broadcasters such as Showtime will pay more if you do your Netflix SVOD after their window rather than before.

The question you have to resolve is what value does each option have and what is the best order for your film given your resources.

This tip was written for the Sundance Artists Services initiative: http://bit.ly/ArTiSts

8. THE DEVIL IS IN THE DEFINITIONS

This tip was also written for the Sundance Artists Services initiative (http://www.sellingyourfilm.com/blog/2011/08/25/the-devil-is-in-the-definition-know-what-vod-means/).

There is no standard yet for definitions of digital rights. IFTA (formerly known as AFMA) has its rights definitions and for that organization’s signatories there is therefore a standard. But many distributors use their own contracts with a range of definitions that are not uniform. When analyzing distribution options, be aware that terms such as VOD can mean different things to different people and include more or fewer distribution rights and govern more or fewer platforms.

Consider the term “VOD”. In some contracts, it’s not explicitly defined and hence can mean anything and everything. IFTA is clear to categorize it as a PayPerView Right (Demand View Right) and limit it to: “transmission by means of encoded signal for television reception in homes and similar living spaces where a charge is made to the viewer for the rights to use a decoding device to view the Motion Picture at a time selected by the viewer for each viewing”.

However in some contracts, it’s defined as “Video-on-Demand Rights,” meaning a function or service distributed and/or made available to a viewer by any and all means of transmission, telecommunication, and/or network system(s) whether now known or hereafter devised (including, without limitation, television, cable, satellite, wire, fiber, radio communication signal, internet, intranet, or other means of electronic delivery and whether employing analogue and/or digital technologies and whether encrypted or encoded) whereby the viewer is using information storage, retrieval and management techniques capable of accessing, selecting, downloading (whether temporarily or permanently) and viewing programming whether on a per program/movie basis or as a package of programs/movies) at a time selected by the viewer, in his/her discretion whether or not the transmission is scheduled by the operator(s)/provider(s), and whether or not a fee is paid by the viewer for such function/service to view on the screen of a television receiver, computer, handheld device or other receiving device (fixed or mobile) of any type whether now known or hereafter devised. Video-on-Demand includes without limitation Near VOD (“NVOD”,) Subscription Video-on-Demand (“SVOD”,) “Download to burn”, “Download to Own”, “Electronic Sell Through” and “Electronic Rental,” for example.  This example includes everything and your kitchen sink.

One has to ask if a definition of VOD or another type of digital right includes “SVOD” (Subscription Video on Demand) and includes subscription services such as Netflix and Hulu Plus. Why does this matter? Well if the fee to the distributor and/or to you is the same either way then it may not matter. If there’s a difference in fees depending on the nature of distribution, then it will.  Recently an issue in a deal came up with respect to distinguishing ad-supported specifically from general “free-streaming”.  Is ad-supported governed by a “free-streaming” rights reference?  Why wonder, Just spell it all out; better to be safe than _____.

Another example, if a contract notes a distributor has purchased “VOD Rights” but does not define them, or defines them broadly, then do they have mobile device distribution rights as well? The words “Video-on-Demand” sometimes are used only to refer to Cable Video on Demand and other times much more generally. In a “TV Everywhere” (and hence film everywhere) multi-platform all-device playable universe, the content creator needs to know.

The devil is in the definition which you must read carefully BEFORE you sign on the dotted line.  Know what you want for and can do for your film in terms of distribution and carve it up and spell it out.

The free period for all digital platform downloads has ended, but you can still get the book at a reasonable price. Digital copies, apart from the forever free pdf version, are $4.99 from Amazon Kindle and Apple iTunes.  You can also get ePub and .mobi files for any reading device and the printed edition from our site. The printed copy is $9.99 plus shipping on our site only.

We will have our second book launch party, in Los Angeles this time, on October 28 at the UCLA Library directly following the popular and FREE DIY Days LA. We will send out invitations to all of our email list so if you are in LA and wish to attend, please RSVP. As always, you can  follow us on Facebook where we post regularly and read our posts on Twitter under the hashtag #syfnotsys.

 

 

 

 

Seven Release Strategies That Can Make or Break Your Movie

This piece originally ran on the indieWire site on September 6, 2011 just prior to the book’s release. Co author Jon Reiss takes a look at release strategies that need to be considered for independent films starting with the goals of the release. Many filmmakers (and distributors) only consider the money aspect, but there may be a variety of goals involved in making and distributing a film which will affect release patterns. Here’s Jon:

photo courtesy of Miles Maker. Co author Jon Reiss autographs the book

There are many elements in formulating a strategy to release your film. The most important consideration on the list? Knowing what you want to accomplish. Films can have a variety of goals and they aren’t all tied to making money.

1. Create a Unique Marketing and Distribution Strategy for Your Specific Film

Each film is unique and requires its own individual distribution and marketing strategy.  Each film in the book is different; most have very different audiences. Similarly, each filmmaker has a different set of goals, needs, and resources. While the studio one-size-fits-all model worked well for some independent films over the last 20 years, it was a disaster for others. With the new hybrid model of distribution, you can craft a distribution and marketing strategy that makes the most sense for your film.

You have a unique vision; use that vision to engage your audience in a unique manner. This will help separate you from the media noise that surrounds us every day.

One of the first films included in the book, “Bass Ackwards,” implemented a unique distribution strategy launched the day after their Sundance premiere concluded. To date, they are if not the only, one of the few to have tried this method.

“This really was an industry play as opposed to anything that got noticed by a more mainstream audience,” said producer Thomas Woodrow. “The intention was to create publicity buzz through the unconventional nature of the release and to have that alone drive audience interest in the film. It was definitely successful on that level. We did far, far better revenue-wise and exposure-wise than if we had tried to go a more conventional sales route.”

2. Know Your Goals

I cannot stress this enough. I cannot repeat this enough. There are multiple goals that you can strive for in the release of your film, but you must prioritize what is most important to you. I categorize the goals for the distribution and marketing of your film into the following five:

1.  Money
2.  Career launch—i.e., help for your next project.
3.  Audience/eyeballs to see the film
4.  Change the world
5.  A long-term, sustainable connection with a fanbase.

Choices you make in service of one goal will often sacrifice another goal. For instance, releasing your film for free on the internet might get you the most eyeballs, but it won’t always help you monetize the film.

You must make sure that everyone on your team is on the same page and doesn’t have conflicting goals. An example from the book, savvy and talented filmmaker Hunter Weeks from “Ride the Divide” had the goal of career launch to help his next project, but his producer Mike Dion’s goal was to make money to repay the investors. These goals are two that are traditionally in direct conflict because career launch is normally associated with some form of traditional theatrical, which in turn is usually a money drain and will not result in repaying investors.

They chose to go for the money. As a result of this focus, they have paid back their investors and garnered a lot of attention in the process, both of which will help Hunter launch his next project.

3. Set Marketing Strategy

Two helpful ways to think about marketing:
1) reaching the audience that already exists for your film
2) thinking creatively of what audiences might be interested in your film.

I recommend that you consider and conceive of a marketing strategy for your film early in the production process, even at inception. Who is its audience? How are you best going to reach them?  Are there particular blogs, organizations, print media that they subscribe to? Who will you bring on to help you outreach to your audience? How does this audience consume media?   Answering these questions will help to fashion your release strategy.

Case study film “Note by Note-The Making of  Steinway L1037” identified their core audience as Steinway owners and pianists who played Steinway pianos, then moved on to all pianists, music teachers and musicians. Another audience group they discovered through screening the film at festivals comprised people who worked with wood such as boat builders and carpenters.

“When we screened in Vermont I had all these people come up to me and say, ‘You know, I have a business; I make furniture and I loved watching these guys build this piano,’ said director Ben Niles. “It really gets down into doing things by hand, so I think anybody who likes to grow organic tomatoes or cook in the kitchen, or anybody who’s really doing something tangible can really identify with the film.”

4. Budget for Distribution and Marketing

In order to successfully execute a marketing plan for your film, a budget must be developed in tandem with your production budget. This is not an optional expense to be decided at the end of post. A marketing and distribution budget is a tool that balances what needs to be spent against what can be afforded, and helps make choices about which methods will be priorities and which ones cannot be implemented due to cost.

A well-analyzed, affordable budget will help to focus achievable marketing efforts without wasting time and money. Doing this also will show that you have a sense of how you are going to make your investors money back (and that you care).

Case study “The Best and the Brightest” went into distribution thinking that they would receive distribution offers. When those did not materialize in a way that would make sense to sell the rights to the film, producer Patricia Weiser had to find a way to raise more money for a hybrid distribution approach. “Don’t forget to have a plan (and a back-up plan) and budget for marketing/distribution in case Fox Searchlight doesn’t write you a big, fat check,” she said. “I had a plan (to use tax credit dollars for the marketing/distribution plan) that didn’t work out (investors wanted the money back). I think we’ve put together a pretty good back-up plan. We will see. The most successful people are those who are good at Plan B.”

5. Identifying and Engaging Your Audience

My  three-step approach to audience development and engagement:

1.  Know WHO your audience is.  This is not 18-25 year old boys/men. Or 35 – 55 year old women. As an independent filmmaker, if you cross over into a mass audience, great – but you need to be much more specific.
2.  Know WHERE your audience derives information/congregates. In other words, how you can contact them, engage them, communicate with them. It may not be by using online tools, but you have to know where.
3.  Know HOW your audience engages media, or HOW they will support you.

For case study “Pioneer One,” the filmmakers already had experience connecting with torrent fans through their previous film “The Lionshare,” a low-budget, narrative film about the world of file sharing. When it came time to start crowdfunding for the web series, they did outreach to every file sharing forum and publication they could to attract interest and gather donations. Not only did they surpass their initial goal of $6,000 to make a pilot, but they ended up raising all of their production budget (over $70,000 total) to finish the series through fan donations. The series is available where their fans are most likely to see it, via BitTorrent and YouTube.

6. Differentiating Core and Niche Audiences

The terms core and niche are often used interchangeably; this is a mistake.

The niche audience for your film is that slice of the population that has a particular interest in your film or an aspect of your film; the core audience for your film is those people within each niche that are your most ardent supporters. Those people will spread the word about your film not only to their networks, but to the rest of that niche. You can have multiple niches interested in your film, and within each niche there is a core who, combined, adds up to the whole core of your film.

While many of our case studies, especially the documentaries, had niche audiences, the key to their successes lies in getting through to the core audience first. With “Ride the Divide,” it was cyclists living along the race route of The Great Divide and they chose musicians also based in those areas to include in the film’s soundtrack, further bringing in the core fan base. With “American: The Bill Hicks Story,” it was reaching the fans of Hicks in the US and the UK including other comedians who were friends and colleagues of Hicks, not targeting all fans of standup comedy.

7. Engage Organizations to Promote Your Film

Know exactly where your audience derives information and congregates.

Many niches have organizations that support those specific topics and interests. Engage those organizations early in your filmmaking process (as early as conception and prep). It is important to have the proper attitude toward your audience and these organizations. Think, “What can I give them?” instead of, “What can they do for me?” If you think of the former, the latter will flow. People are very busy. You need to give them an incentive to be involved with you. That fact that you are making a film is not enough. How will the film service their organization, their lives and the lives of their members? In turn, they will help you promote your film to their direct audience.

This has been used by great effect by documentary filmmakers.  Narrative filmmakers need to follow their lead. Case study doc “For the Bible Tells Me So” was able to reach their target audience through organizational partnerships with churches AND gay rights organizations, even though their initial thought was these two groups would be at opposition to each other.

“Most of the time, maybe 70% of the time, it was small gay groups alerting other small gay groups about the film, and those groups contacting First Run [the film’s distributor] and finding venues in which to show the film to the wider (non-gay) community at large,” said director Daniel Karslake. “And then word would catch on, and people would want to be a part of the discussion. Just about everywhere, audience turn-outs were tremendous, and sellouts were common.”

When the 2008 National Convention of the United Methodist Church met to change their book of common prayer to stop condemning gay people, they ordered one DVD for each of their 900 voting members. A similar order was placed on behalf of 900 Bishops in advance of the 2008 Worldwide Anglican Communion.

This is the final week to get your free download of Selling Your Film Without Selling Your Soul. After October 1, digital copies will be $4.99 and the print copy will stay at $9.99 on our site. There will be a forever free pdf copy that does not contain pictures, links or video on our site. By November, the print copy edition will be hitting many bookstores so if you do not want to order online, you should find it in stores. The SRP is estimated at $19.99 though.

 

 

September Madness: Turning Towards Mecca

Today’s post was written by co author and festival strategist Jeffrey Winter. Late deadline for Sundance is looming and he has this advice for all of this year’s hopefuls.

With the Toronto International Film Festival now ending, and the submissions closed and programs largely locked for major fall fests like Hamptons, Chicago, and AFI FEST, the annual festival cycle turns once again…and the thoughts of indie filmmakers turn once again to Sundance dreams. Click here and recoil in collective realization/horror that there is just one week left until the official “final late deadline” for the 2012 Sundance Film Festival.

In our role as advisors and educators with The Film Collaborative, strategizing around Sundance of course plays a major role in the analysis of the distribution arc of an independent film (particularly for U.S. filmmakers of course….less so for international filmmakers). In the last few days alone, I’ve watched seven films and spoken to seven filmmakers who’ve articulated their distribution strategy to me as “well, I’ve applied to Sundance now…so I hope I get in.” When I ask them what else they are planning, the response has mostly been, “well, I’m waiting to see.”

Keep in mind, I’ve actually seen these films. My best guess would be two of the seven have a chance, and one of those perhaps better than 50% likely. Considering that each and every one of these filmmakers is smart and industrious enough to actually finish a feature-length film, it’s astonishing how little of that capacity for informed decision-making is being applied to the life of the film AFTER it is in the can.

This is in NO way a shot across the bow at Sundance. In SELLING YOUR FILM WITHOUT SELLING YOUR SOUL, we profile a number of films that premiered at Sundance, and clearly document the utterly profound and dramatic good that a Sundance premiere can do for an independent film. We can all point to numerous Sundance miracles; even life-changing events that can probably ONLY happen through Sundance. My favorite of 2011 (although not in the book) is the story of Evan Glodell’s BELLFLOWER, for which the director and some of the crew spent a large part of five years homeless and crashing on each others’ couches in order to get made, and then found theatrical distribution through Oscilloscope at the Festival (and subsequently, actual homes to live in). One of my recent filmmaker meetings was with a middle-aged British filmmaker who told me that BELLFLOWER is the model for their distribution strategy, to which I had to chuckle, and ask him, “really, you want to suffer that much?”

Of course, by most all accounts, the 2011 Sundance Film Festival was a banner year for indie films sales, and numerous six and seven figure deals were splashed across the headlines. So to this I say, by all means, if you CAN premiere your film at Sundance, you should certainly do so….there is no other U.S. festival with nearly as much “impact potential,” and probably won’t be for the foreseeable future. But let me be one of the first to go on record here and say, I highly doubt Sundance 2012 will be anything like Sundance 2011 (except of course, it will be cold weather, as always). The economy has been in serious backslide since then, and I am certain that many of the film purchases of Sundance 2011 are already underperforming at the box office and this will cause buyers to be more wary this time around. I have been calling Sundance 2011 a “bubble” for months now….and if I am wrong, well, that will be good news indeed.

If SELLING YOUR FILM WITHOUT SELLING YOUR SOUL has taught us anything, it’s that the most forward-thinking of today’s filmmakers understand it is no longer up to “others” to make their film a success, it is first and foremost up to them. There are a lot of people out there that can help you (including The Film Collaborative), but at the end of the day, your film is YOUR baby, and your passion for the film will outstrip everyone else’s, and that passion needs to be present in your distribution strategy every bit as much as it was in making the film in the first place. Do us ALL a favor and stop thinking that this is the “future” of independent film, and recognize that the future is NOW.

To this end, here are some things you can do:

1. BUILD YOUR OWN COMMUNITY. I know its harder to do than it sounds. But you built a community to MAKE the film, so keep building your community to get it out there. Social media is of course a key, but even a Luddite can do it. Most of the most successful indie films I’ve ever worked on have been driven by filmmakers who knew the organizations they needed to connect with, the churches they needed to engage, the fan bases they needed to activate, etc.

2. KNOW YOUR NICHE. In keeping with the community theme, identify and target the people who are likely to be the “first responders” to your film. Don’t fool yourself that your film is “for everybody”…this is the first mistake we frequently hear. Unless you’ve got major A-level stars in your film, we can tell you right now that your film is NOT for everyone….it will take activation of a specific kind of consumer/ lifestyle-based audience to drive your traffic. Ask yourself seriously, how am I going to reach these “first responders,” and you will be way ahead of the curve. Don’t just ask yourself these questions, put your ANSWERS into ACTION. The real work doesn’t end with finishing the film….in today’s film climate the work practically STARTS with activating your particular fan base.

3. DO YOUR INDUSTRY NETWORKING. Does anyone for a minute imagine that getting into festivals and/or getting your film distributed is a democratic process based on the quality of your film alone? Ha, that would be nice…but not based in reality. Programmers and executives and everyone else in the distribution chain are just actual humans, and of course they are more likely to favor your project if they have actually met you and pressed your flesh in a handshake or a cocktail party kiss. You need to be out there, pushing your film in the same way a politician pushes their campaign.

4. HAVE MULTIPLE BACK UP PLANS. This is the essence of entrepreneurship. No self-respecting business person would start a company based on the whims of one particular “popularity contest,” which is essentially what any one Festival like Sundance or any other boils down to. When looking at a Festival like Sundance (or any other), you are essentially looking at one “corporate culture” that may or may not find your film fitting to their needs according to factors you can’t possibly control. Don’t be disheartened by any particular rejection…have a broad based strategy that circumvents any particular eggs in any particular basket. It may take you a while to find your audience and your fan base, but don’t let anyone tell you that it is impossible.

Because in today’s world, believing that it is impossible is likely the surest road to failure. And stubborn determination and dogged hard work is probably the surest road to success. Assuming of course, you’ve got something special (in terms of the quality of your film) to work with….

 

The 5 Best Ways to Use Social Media to Build an Audience For Your Film

In a continuation of the tips series on indieWire in the lead up to the book’s release, here are 5 ways co author Sheri Candler advises to use social media in order to build an audience for your film with examples gleaned from our filmmaker participants in the book.  This post first appeared on the indieWire site August 23, 2011.

photo credit Steven Roddy.com

Within our book Selling Your Film Without Selling Your Soul Presented by Prescreen and Area23a, there are many pieces of advice regarding audience building activities. While some filmmakers started the process very early in production (Nina Paley started blogging 3 YEARS before her film, Sita Sings the Blues, was released), some started only after their films hit the festival circuit. Remember, social media isn’t just setting up a Facebook and Twitter account. Anywhere one can share a link, comment on a post, or self publish content for all to read, watch or listen to is considered social media activity.

Here are my 5 tips on using social media to build an audience along with advice found in the book.

1) Don’t spend all of your time talking about your film on social media. After a while, this constant selling is boring to read and you won’t build up interest from your audience. This is the kind of page you get when you solely entrust outside agencies with building and maintaining your social media presence. They cannot effectively be the voice of your work. Think about what interests your audience in their daily lives and why they would be attracted to you as an artist and to your film, then present them with news and information on that. “We talk about everything related to the movie, about collaborations with other people. We also talk about space, indie filmmaking, creative commons issues, and our views on piracy issues. It is a place you can come and learn about us as people, what we believe and what we are doing related to the movie. We just make it more personal and allow people to feel like they are inside the workings of the production. We find that people respond the most when you tell personal stories.” – Nicolas Alcala-Writer/Director of The Cosmonaut.

2) Regular activity is imperative. It is advisable to set up a constant system of feeding new information, assets (text, video and photos), trivia quizzes, links to news stories to your social media sites rather than to post sporadically every few weeks or months. One way to do this is to start a content calendar or editorial calendar to plan out when you will post, what events are coming up that you want to be sure your audience knows about, links to interesting stories you have found and want to comment on for the blog and any guest posts from those outside of your production who can cross audiences with you. “The most effective weapon we had in online outreach was content, which is offered as an exclusive to garner prime placement on certain homepages or newsfeeds. This might be in the form of clips, outtakes, audience reactions, new trailers, or famous fans talking about the film. These clips can be time-consuming to create, but are worth doing when the organization in question will hit mailing lists (many we hit were 20,000+), and then support again with a giveaway come the DVD release.”- Paul Thomas and Matt Harlock, the filmmakers of American: The Bill Hicks Story

3) Researching and building connections with influential people to your audience is a smart and efficient  way to reach an audience with whom  you do not have a personal connection. Largely, this can be done through online channels, but you must think what you are offering. Influencers have trust built up with their audience and cannot risk putting it in jeopardy to help you. Make sure there is a natural and reciprocal relationship built on respect. “Elden Nelson has a blog called fatcyclist.com, which I was a big follower of, and he’s got a pretty big audience. We’ve since worked with Elden and fatcyclist.com to raise money [for cancer research], and he’s talking about the project in his inner circles, which has been fantastic.”-Mike Dion, producer of Ride the Divide

4) Knowing your audience and what drives them is the most important rule of marketing . Indie filmmakers are notoriously neglectful of this basic marketing knowledge and try to embark on social media campaigns that are totally ME centric (if they start campaigns at all). Many times when you are not in touch with your audience, what you think will resonate with them is actually wrong. “Once we started directly engaging with our fans on Facebook and Twitter, we realized that many of our most active fans weren’t necessarily the fans of our bigger names; they were fans of Bridget Regan and they were absolutely insane with passion. These are the fans who have reached out to us directly, rallied their communities, and quite literally dragged the film on their backs into their local movie theaters.”-Josh Shelov, director and co writer of The Best and The Brightest

5) Another key to having a successful social media effort is making sure that there is a dialog with your audience. Great content should include a place for conversation between the production and the fans and within the community of fans. Gear your site to be the facilitator of connections among people with common interests.  They will help widen your circle of audience naturally by bringing other like minded people in so that you don’t have to be so dependent on advertising. “This conversation, between filmmaker, audience and distributor is the antithesis of the present way films are most commonly distributed and marketed. It’s a conversation where a community forms around the niche aspects of a film and then the filmmaker reacts to this conversation to improve his/her offer to the audience. In essence the audience is telling the filmmaker/distributor how to market the film.”-Andy Green, co owner of Distrify.

For more great information, RSS our blog and read our forthcoming book Selling Your Film Without Selling Your Soul Presented by Prescreen and Area23a Movie Events, find us on Facebook and follow our hashtag on Twitter #syfnotsys.

 

The 10 Things You Must Know Before You Set Foot on the Film Festival Circuit

We have started a tips series on indieWire in the lead up to the book’s release. These are meant to help you understand the material found in the book and share some of our knowledge gleaned through working with independent films and festivals. This first series appeared on the indieWire site August 16, 2011 and was written mainly by our film festival expert Jeffrey Winter.

1. You need two high-impact festival premieres.
Target an impact festival for both your world and international premieres. An impact festival is one that directly leads to results, whether that means sales reps soliciting you, distributors pursuing you or other festivals requesting to see your film. If you aren’t sure which festivals qualify, consult several industry professionals; every festival will tell you that distribution deals are done at their festival… and that’s almost always a lie.

2. Don’t be provincial.
Remember that the U.S. film market is only 30% of the world. That means you may be faced with making that same high-impact premiere choice in several key territories around the world (esp. Canada, U.K., Continental Europe and Asia). However, there are just as many places in the world where your film likely won’t sell anyway, so you might as well take whatever invitations come your way as long as you don’t think you are opening yourself up for piracy. In other words: Don’t overthink your Slovenian premiere.

3. Think Globally, Act Locally.
For many filmmakers in large markets, the best film festival close to home may be the best place to premiere. These festivals often have sections dedicated to local films that make acceptance easier; they also have locally themed prizes that often come with cash. Also, a local premiere may be easier to fill through regional word-of-mouth, and a packed house is always better than the alternative.

4. Know Your Niche.
Consider that for many films a niche festival may be an impact festival as well. The Chicago Latino, San Francisco Jewish, Pan African Film Festival Los Angeles, the Indian Film Festival of Los Angeles, the San Francisco Gay & Lesbian Film Festival and Fantastic Fest are all examples of top-notch specialty fests that may represent the best festival circuit in which to engage your particular audience.

5. Don’t spend before you have to.
Before engaging a sales agent, a publicist or throwing a premiere party, ask yourself exactly what you want that money to achieve. Hiring PR and throwing a party at a small regional festival where there is no national press and no industry attendees is unlikely to pay off professionally. Be targeted in the reasons you spend money at film festivals.

6. Include the festival circuit in your production budget.
Always remember to carve out a small percentage of your production and post-production budget to allow you to enter the festival circuit; we recommend 10-20% of the overall budget. Film festivals require submission fees (unless you can get them waived), exhibition deliverables, support staff, marketing materials and travel costs. A microbudget film might expect to spend up to 50% on film festival costs.

7. Don’t expect the festival to sell your film.
Actively market your own film. The festival won’t fill your seats; they have many movies and yours may not be their priority. You can nudge this process by requesting a prime slot and being in regular contact with the festival’s publicity and marketing teams, but in the end it’s your baby. And if you pack the seats with friends, you’re that much more likely to win an audience award.

8. Look for allies outside the festival.

Reach out to like-minded organizations to help promote the film. Offer perks like free tickets in exchange for email blasts to their partners. If the festival will allow it, let a local organization set up a table outside your screening for their literature in exchange for marketing support.

9. (Some) Films can start making money now.
Learn the game of monetizing your film festival run. If you have a world premiere at one the top film festivals like Sundance or Cannes or a handful of others, other programmers will request to see your film. The general rule is: if a programmer requests to see your film and then accepts it, you can ask for a rental fee (between $500 and $1,000 is a good place to start). If you submit on your own, generally they will not pay you. However, if you are represented by a distributor or a producer’s rep, they may have more negotiating power and be better able to get you a screening fee. Also, niche festivals are much more likely to pay you fees to screen your film, since there’s less product for them to choose from.

10. Your theatrical release starts now.
Most filmmakers experience a mental disconnect when saying that they want a theatrical release; what they really mean is they want their work seen on the big screen, not on a laptop. Film festivals are big screens; envision your entire festival run as an event-driven theatrical release. Once your premieres have been achieved and other festivals are asking for your film, let it fly. Every festival has marketing, PR and word-of-mouth value.