remixable - posts tagged 'future of film'

Building a Better Request Tool

Thu, 01 Jul 2010 13:54:17 GMT

Recently, I’ve been keeping a close eye on tools for audience building. Several months ago I was very excited about a project, being funding through Kickstarter, called Openindie – if you’re not following Kieran Masterton on twitter already, then you should be. The site is still in beta, and what is exciting about Openindie is that it’s still finding and building it’s community: it is open to ideas and able to adapt quickly to what the filmmaking community needs.

A few nights ago I was in night-owl mode, with a moleskine and pen in hand, as I was pouring over some of the most-requested films on Openindie. Among them: Heart of Now, We Live in Public, and What’s Up Lovely. I was sketching out site designs that made use of an integrated Openindie request button. Researching which of these top-requested films on Openindie were heavily using Openindie on their film’s main site, the answer: none of them.

Which, I found very strange. But I’ll get to that below.

What I mostly wanted to talk about is: better approaches for audience building. Either for the purpose of mapping out which zipcodes have enough support + demand to schedule screening events, or for other purposes. A question I kept coming back to was “is it necessary for the audience to actually sign-up?”. Openindie does make the process quick and painless by offering Twitter Oauth and Facebook Connect – but does this benefit Openindie more than it does the film?

For example: I’ve been very interested in using twitter as the main engine behind building audience interest – asking that someone interested in FToM simply twitter the hashtag #requestFToM (for those who do not have a twitter account already, they could simply text #requestFToM to 40404). If Openindie could make use of that kind of information, I think it would be a far more powerful tool then having people navigate to a specific URL, sign-up, and then click on the request button. Any #hashtag attributed with GEO information could be mapped immediately, and any #hashtag without could be @replied back to requesting a zipcode. There is no sign-up form, there is no Oauth or Connect needed. Anyone with a cell phone that walks past your flyer on the street could immediately voice their interest.

What I would most love to see from a site like Openindie is a request tool that is 100% flexible on the filmmaker’s end. By that I mean, the request button does not change, you can grab a short piece of code and embed it anywhere you like. But from within Openindie the tool can be scaled out and adjusted in reaction to what is working best and what isn’t. As a filmmaker, what would I like to happen when the request button is clicked?

I would like the visitor to never leave the film’s site. Or if they do leave, much like Paypal, they are returned right back to where they started after the request is finished.

I would like control over what the visitor sees. Have I turned on the options for both twitter and facebook? Or am I just asking them to provide an email? Am I offering all 3 or 4 or 5 options? Does it take them straight to a pre-written twitter with the #hashtag and other important info? These should be settings that can be controlled from the Openindie dashboard without having to replace any embed script.

Once a visitor clicks the request button, that same button then reads: promote. And, of course, have 100% control from within Openindie as to what exactly happens when that is clicked. Does it take the visitor to Openindie’s list of sharing options? Or point them to a site of sharing tools still under the film’s URL? Perhaps I’m running a campaign that involves real-world action like flyers or stickers in public places and want them taken to a page walking them through that idea.
Only a tool that is 100% flexible is going to be a perfect fit for each different filmmaker.

I’m really excited about where Openindie is heading – and I’ve already pestered Kieran about some of these ideas and he seems very open to them, even more so he seems excited about talking to filmmakers and getting feedback on what tools are going to take independent film the furthest.

Building a Better Request Tool

Thu, 01 Jul 2010 13:54:17 GMT

Which, I found very strange. But I’ll get to that below.

I would like the visitor to never leave the film’s site. Or if they do leave, much like Paypal, they are returned right back to where they started after the request is finished.

Thoughts On Audience Building

Mon, 21 Jun 2010 17:23:44 GMT

In a recent post here, Ted Hope listed “38 More Ways The Film Industry is Failing Today“; many of the questions and points made among the 38 stood out to me, and I’ve spent the last several days trying to openly brainstorm steps that could lead towards change. But today, I wanted to write about one in particular: Ted asked why we don’t encourage, or even demand, that a film build it’s audience (say, 5,000 fans) prior to production and greenlight.

For starters, I love the idea of audience builds. I think the practice of audience builds before a film gets too far off the ground would be a great shift in how we think of films, how we approach them, how to involve the audience long before they ever sit down in a theater – but it raises a few key issues:

Filmmaking is storytelling, and stories are told many different ways and take very different paths. Because of this, it might not be the best idea to mandate audience builds. One reason for this is it could, if taken advantage of, create yet another “door” that is opened easier only for some.

So the real question is, “why” take this route? If you had a fork in the road, would you, as a filmmaker, only take the path of audience building prior to production because it was the path less traveled? Or would it come with it’s own real incentives outside of “popularity”? For example, would studios honor and take seriously independent films that have done the hard work of pre-building their audiences? Or would certain grants and financial benefits kick in at such a watermark? It’s important to help build that distinction and give filmmakers real incentives at thinking of storytelling in this way: your supporters are your foundation, build that first, then your film.

This topic of audience builds is interesting to me because, as much as I agree with the idea of pre-building your supporters, I’ve been very hard at work on For Thousands of Miles for six years now, always with a strong interest in the community that can grow around a film, and I still fall short of that hypothetical benchmark of 5,000 supporters. Even with Facebook, Twitter, mailing list, Kickstarter, production-blog subscribers, Vimeo community, etc: we are not above 5,000 people. Have we overlooked the importance of forming a relationship with the audience beforehand? Does our film’s approach and idea need more work before people really begin to relate on a larger scale? And on top of this, these supporters overlap: people who follow the film on Twitter, also might be subscribed to both our blog as well as our mailing list. Which raises the questions:

How do we keep proper tally of the numbers during an audience build without counting one person two or three times? How would an outside review separate individual supporters across multiple social tools? And more importantly, who would do this validating? Should we be building stat tools and options for keeping these aggregated numbers public, letting the film’s own growing base self-check it’s own real-world size? Does this public display beg for popularity contest, where growing your numbers by any means necessary as fast as possible becomes the focus, instead of slowly and steadily reaching out to people who will really follow and support your work over the longterm?

Measurement can be relative when it comes to films, support can vary wildly depending on how a filmmaker goes about engaging people beyond their film. So how do we really measure this? Hitting a set number of followers / supporters / fans / backers could be one way, or if anything, the first step in audience building. From there it’s what you do with these people: how you involve them in the process, what they get out of supporting your project. As filmmakers we cannot change the future of storytelling without the audience’s full support – we need them to fall in love with a new “norm” of getting involved and be right there next to us when going head-to-head with the old ways of industry.

let’s brainstorm the future of film

Sun, 23 May 2010 01:58:33 GMT

Today, I started a mindmap based off Ted Hope’s recent blog post. Mostly cause I think better visually. Newbreed and WBP being places of diverse filmmakers, filmlovers, and creators in general: I’d love *your* input.

let’s brainstorm the future of film

Sun, 23 May 2010 01:58:33 GMT

EVENT: Join the Conversation at Columbia

Wed, 24 Feb 2010 22:17:10 GMT

On March 27th The Conversation comes to Columbia University. Started in 2008, The Conversation is a look at the future of filmmaking and how advancements in technology are enabling new opportunities for filmmakers. The program for March 27th is extensive and will bring together a number of innovative thinkers in the space. For more information visit www.theconversationspot.com

We had a chance to sit down with Scott Kirsner to discuss The Conversation.

Five questions about the Conversation

WorkBook Project: Can you explain why the Conversation and why now?

Scott Kirsner: We did the first Conversation event in the Bay Area, back in late 2008. There was lots of interest in doing an East Coast version, but it was tough to find the right venue, until Ira Deutchman at Columbia got involved and suggested we do it there. The time seemed right to bring people together to talk about digital distribution, social media, and all of the ways that the Internet and new technologies are changing the business of film and visual storytelling, creating all kinds of new opportunities (and also challenges, if you’re wedded to the traditional ways of doing things.)

2008 speakers Gregg and Evan Spiridellis of JibJab

WBP: What are some of the innovations that you’re seeing in the space that excite you most?

SK: I’m personally really interested right now in the way new set-top boxes like Roku and Boxee are making it possible for anyone to create channels and deliver digital content to viewers’ televisions. That seems like it could have a really positive democratizing effect on the media landscape. I’m also interested in the experiments people are doing with episodic video on the Internet, trying to find business models that will support it, whether it’s sponsorship, advertising, selling merchandise, or eventually collecting the series on a DVD.

WBP: In your opinion what are the most pressing issues today for filmmakers or others working in the digital content space?

SK: There are three big issues, I think: what are the new forms and formats that are emerging, and how can you tell compelling stories within them; how can you continually expand your audience, and connect with audience members in meaningful ways; and how can you generate a solid financial return on what you’re doing?

WBP: What are some of the topics of discussion for the Conversation?

Using Twitter effectively as a filmmaker…creating content especially for the Internet…talking about films that have actually done well in digital channels…and Peter Broderick is doing a workshop about how to carve up the rights to your film (DVD, TV, digital, theatrical, etc.) to generate the most revenue.

WBP: What do you hope comes out of the Conversation?

SK: Well, as with the last one, I hope there’s a lot of spontaneous things that happen on the day of the event that we haven’t planned in advance. We have these opportunities to lead lunch discussion groups, so you can literally just jump up and declare that you want to talk about promoting your film at festivals, or getting lots of YouTube views, or whatever — and have a group coalesce around that. Another big goal for The Conversation is to bring together people who’ve actually been pioneers in lots of different areas, so they can share their stories about what has worked well for them — and what hasn’t. I think this event, like the DIY Days gatherings that you run, and like The Workbook Project itself, is really about giving people the information and tools to be smarter pioneers, and smarter businesspeople in this new environment we’re in.