Video from The Conversation @ Columbia

We shot the three main panels at the March edition of The Conversation, held at Columbia University. (The audio is a bit rough at points, due to some mics onstage that were cranked up a bit too high.) Thanks go to Emily Branham, director of the forthcoming doc "BeBe," for doing the shooting (and the audio issues weren't her fault, I should say!)

> Tiffany Shlain's Opening Remarks:

ConvoNYC - Tiffany Shlain's Opening Remarks from Scott Kirsner on Vimeo.

> Ira Deutchman's Opening Remarks:

ConvoNYC - Ira Deutchman's Opening Remarks from Scott Kirsner on Vimeo.

> Panel: What I've Learned About Attracting an Audience Through Social Media (in three parts, with Arin Crumley, Jason Spingarn-Koff, Ryan Werner, Sandi DuBowski, Nina Paley, and Ian Schafer...moderated by me)

ConvoNYC - Attracting Audiences Through Social Media - Part 1 of 3 from Scott Kirsner on Vimeo.

ConvoNYC - Attracting Audiences Through Social Media - Part 2 of 3 from Scott Kirsner on Vimeo.

ConvoNYC - Attracting Audiences Through Social Media - Part 3 of 3 from Scott Kirsner on Vimeo.

> Digital Distribution: Addressing the Big Questions (in three parts, with Cory McAbee, Richard Lorber, Steve Savage, Hunter Weeks, and Thomas Woodrow...moderated by Peter Broderick)

ConvoNYC - Digital Distribution - Part 1 of 3 from Scott Kirsner on Vimeo.

ConvoNYC - Digital Distribution - Part 2 of 3 from Scott Kirsner on Vimeo.

ConvoNYC - Digital Distribution - Part 3 of 3 from Scott Kirsner on Vimeo.

> Stories Elsewhere: Making Media in New Ways (in three parts, with Asi Burak, Gita Pullapilly, Fred Seibert, and Lance Weiler...moderated by Wendy Levy):

ConvoNYC - Stories Elsewhere - Part 1 of 3 from Scott Kirsner on Vimeo.

ConvoNYC - Stories Elsewhere - Part 2 of 3 from Scott Kirsner on Vimeo.

ConvoNYC - Stories Everywhere - Part 3 of 3 from Scott Kirsner on Vimeo.

Sneak Preview of Tiffany Shlain's New Doc in SF, Feb. 18th

If you're in the Bay Area, Tiffany Shlain is doing an event next week. She'll show a rough cut of Act I from her current project, 'Connected: A Declaration of Interdependence,' and talk about her distribution and audience-building strategies for her earlier work. Wish I could go!

ITVS: Case Studies of Indie Filmmakers Working with New Technologies

One of my big projects for 2008 was collaborating with ITVS on a series of case studies focused on indie filmmakers who are pioneering new ways to:

- Open up the production process to more audience participation

- Find and connect with new audiences for their work

- Distribute their finished film in new ways.

The first seven case studies are up on the ITVS site now, along with a list of the "Top Five Connection-Creating Strategies" and "Top Five Marketing and Promotion Strategies" for social issue filmmakers. (Many of these would work for any kind of filmmaker, but the whole project has a social issue doc focus.)

The filmmakers I interviewed include Byron Hurt ('Hip-Hop: Beyond Beats and Rhymes'); Katy Chevigny ('Election Day'); Curt Ellis ('King Corn'); David Iverson and Michael Schwarz ('My Father, My Brother and Me'); Hunter Weeks and Josh Caldwell ('10 MPH'); Tiffany Shlain ('The Tribe'); and Brad Lichtenstein ('What We Got'). One last case study, with Patrick Creadon (director of 'Wordplay' and 'I.O.U.S.A.'), should be up soon.

Here's part of the intro to the project:

...Chasing every new opportunity can be a waste of a filmmaker’s energy and resources. Which ones will generate the biggest return, in terms of attracting viewers, making change in the world and producing positive financial results?

The ITVS Digital Initiative: Report from the Field, a series of case studies published on the ITVS website, aims to answer that question. By sharing the stories of filmmakers who are experimenting with new technologies, and trying whenever possible to quantify the results, we’ll seek to inspire other filmmakers to innovate—while trying to avoid raising unrealistic expectations.

The Report from the Field will focus on three main changes, or pillars: opening up production, finding new audiences and taking advantage of new distribution opportunities:

Opening Up Production to Participation
During pre-production and production, how are filmmakers communicating with audiences, widely dispersed teams, funders and prospective subjects in new ways? What new opportunities for involvement and participation are they exploring?

Finding New Audiences
Once a project is completed and ready for release/broadcast, how are filmmakers using blogs, social networks, games and other technologies to reach audiences that will care about their project?

New Distribution Opportunities
How are filmmakers presenting their work on websites, cell phones, iPods and the new generation of Internet-connected TVs and set-top boxes? Do these distribution avenues create conflict with more traditional outlets? Are there substantial economic benefits or simply promotional positives?

Thanks to Sally Jo Fifer, Matthew Meschery, Cathy Fischer, Jim Sommers, and the rest of the team at ITVS for supporting this work!

New Business Models for Digital Distribution

Any idea what the weekend box office numbers were for April 14-15, 1894?

Or how much home video raked in, the first few days that you could purchase movies on VHS or Betamax tapes?

Cinema was a tiny business at the outset. The Holland Bros. Kinetoscope Parlor in Manhattan took in $120 on its first day of business, a Saturday. When the entrepreneur Andre Blay started selling Hollywood titles on cassette in the 1970s, he made $140,000 during his first weekend.

Those are pretty unimpressive figures.

But by the mid-1920s, movies were generating $1 billion a year (adjusted for inflation). By 1990, home video had grown into a $6 billion business.

Those two examples may be instructive when studios and filmmakers look at digital distribution today. It’s small. It’s tempting to ignore it, and focus instead on selling DVDs. That’s where the money is. But digital, I believe, will gain a lot of steam over the next five years.

This shift from the business of selling physical DVDs to the business of selling digital bits was the focus of two panel discussions earlier this week; they were sponsored by ITVS and the Paley Center for Media. One took place Monday in Beverly Hills, and the other was held Tuesday in San Francisco.

The panel included Rick Allen, CEO of Snag Films; Tami Yeager, a filmmaker who is also working with the Tribeca Film Institute’s Reframe Project; and Jesse Patel of the Participatory Culture Foundation. Filmmaker Tiffany Shlain participated in the SF panel, and Brian Terwilliger was the filmmaker on the Beverly Hills panel.

Even the filmmakers who have been pioneers of digital distribution haven’t yet come close to earning online what they earn from selling DVDs. Terwilliger said that while his movie One Six Right is for sale on iTunes, it isn’t easy to find unless you specifically search for the title. (For some reason, Apple doesn’t list it under “Documentaries” or any other category, and he hasn’t been able to rectify that.) Shlain told me that while her short “The Tribe” was the top-selling short film on iTunes for a while last year, and while she has offered it through other sites, the digital revenues have been only about 1/10th what DVD sales have achieved. (Shlain has also had trouble getting paid by the aggregator that helped funnel the movie to iTunes.)

But everyone on the panel agreed that DVDs will not last forever.

What was most useful at both panels was exploring some of the different business models that are emerging for earning digital dollars from movie releases:

- Paid downloads, a la iTunes.

- Paid rentals (limited period for viewing)

- Free rental or download (to reach broad audience); what’s free may be only a portion of the film, and “extras” or bonus material or a "comprehensive" version of the film may be for sale, digitally or on DVD

- Subscription (a project is released in installments, and interested viewers pay a small monthly subscription to receive them – or receive them first, a week or a month before they’re released for free)

- Slicing and dicing. Educators or institutions may pay a fee for the right to edit or excerpt a full-length film in a way that suits their needs. Instead of the old, “Buy this DVD for $300,” you might say, “Pay $300 for the right to customize this material to fit your course, or to work in the context of a group meeting.”

- Bounty fee/referral fee. A film becomes a tool for generating new members for a Web site or other organization. With the YouTube release of Four Eyed Monsters, for instance, the filmmakers received $1 for every new user they directed to the Web site Spout.com

- Advertising/sponsorship/underwriting. A film will be peppered with short ads (they’re 15 seconds long on SnagFilms), or sponsorship/underwriter messages.

- Live speaking gigs via videochat. One interesting new idea that emerged from the panels is that filmmakers might earn “speaking fees” without having to travel. Instead of asking a non-profit or educational institution to pay $2500 or $5000 to fly you out to address their group, ask them to pay $250 or $500 to have you do a short live talk/Q&A (using software like Skype or iChat) after they’ve watched your film. More groups would be able to afford that kind of filmmaker interaction than the pricier one, and fewer filmmakers would be spending time stuck in airports or jammed into center seats.

No doubt there are other models that will work, or are at least worth trying. Post your thoughts below…

Tiffany Shlain on Self-Distribution & The Conversation

FreshDV just posted a podcast with filmmaker Tiffany Shlain, who is part of the team putting on The Conversation later this month in the Bay Area. She talks about the event, and also her own approach to self-distribution with 'The Tribe' and her current project, 'Connected: A Declaration of Interdependence.' (Video preview below...)

In Variety: "Studios' Digital Dilemma"

I have a piece in Variety this week that is basically a state-of-the-market report on digital downloading of movies. It argues that Apple is becoming the Wal-Mart of this new medium -- and that that has big implications for studios and independents. From the opening:

Like Wal-Mart, Apple seems to be flexing its muscle to dictate terms to studios and indie producers. iTunes is a digital "big box" store to be reckoned with, and the choices Steve Jobs' company makes and the conflicts it faces will likely shape the way movies are consumed over the next decade.

IMAX's Digital Plans ... Shorts on iTunes

- IMAX Corp. has started to say more about its plans for a ginormous digital projection system to serve the world's 290 IMAX theaters. From the press release:

[IMAX has] moved up the launch date of its digital projection system in development to the second quarter of 2008 from its previously announced timeframe of the end of 2008 to mid 2009. The highly anticipated IMAX(R) digital projection system will further enhance The IMAX Experience(R) and help to drive profitability for studios, exhibitors and IMAX(R) theatres by virtually eliminating the need for film prints, increasing program flexibility and ultimately increasing the number of movies shown on IMAX screens.

Under the current roll-out schedule, the Company anticipates that three digital IMAX prototypes will be installed during the second quarter of 2008. Shortly thereafter, IMAX expects to install three additional prototypes. Once these prototypes meet performance specifications, IMAX expects to proceed with a full rollout during the second half of the third quarter and in the fourth quarter of 2008.

No word on who IMAX is working with as partners ... I suspect this is not all technology developed in-house. In a survey IMAX conducted, 46 percent of respondents said they preferrred the digital IMAX projection to film.

- The San Francisco Chronicle has a piece about how iTunes and Web sites are fueling new interest in short films. It focuses on Tiffany Shlain ('The Tribe'), Jon Bloom ('Overnight Sensation'), and Jesus Beltran ('The Grass Grows Green'), among others. From Joe Garofoli's piece:

Creators of short films (40 minutes or less) have finally found an audience through such online sites as iTunes, Revver.com and San Francisco's Frameline Films and Caachi.com, which specializes in distributing independent films. And those sites are even starting to bring a revenue trickle to older shorts that audiences are unearthing online.

Shorts haven't had this kind of exposure since before 1950, when pre-TV-owning audiences saw shorts on the same bill with features and newsreels at the local movie theater. Now, when Oscar viewers hear about a handful of really cool-sounding short films that screen at one the world's 5,000 film festivals, they can actually see them.

"We are at the beginning of a transitional moment" in the short-film industry, said David Straus, CEO and co-founder of Withoutabox.com, an 8-year-old Los Angeles outfit that has helped 150,000 independent filmmakers market their films using the Internet. "It's not just that people can download them and see films online, it's that filmmakers are learning what they can do to reach out to audiences themselves."

Beltran says he has made "a couple thousand dollars" over a few months of having his film up on iTunes. (To clarify an earlier post, Mediastile is handling the distribution of 'The Tribe' on iTunes.)

EchoStar Buys Sling Media ... Blu-ray Sells More Discs, HD DVD More Players ... 'The Tribe,' Available Soon on iTunes

- EchoStar, the parent of the Dish Network, is paying $380 million for Sling Media. Sling makes the Slingbox, which can send live TV broadcasts and DVR content from your home to any Internet-connected computer (and even to many cell phones).

- In an update on the high-def disc wars, the Wall Street Journal says HD DVD has about 58 percent of hardware sales, but Blu-ray discs are outselling HD discs by 2-to-1 this year. What does that mean? I guess Blu-ray player owners are just buying more discs than their HD DVD neighbors.

Sarah McBride writes:

The upshot: Both formats remain viable. And even though consumers can get free movies when they purchase a player, millions of people are sitting on the sidelines, their wallets untouched.

- "The Tribe," a short film on the connection between Barbie dolls and Judaism, will start selling on iTunes next week, according to filmmaker Tiffany Shlain's Web site. (It played at Sundance in 2006.) That makes it one of the first indie films to show up on iTunes without going through an aggregator like Shorts International. It'll sell for $1.99. Shlain worked directly with Apple on the arrangement.