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Truly Free Film

Making Money Under the Education Kanopy

by Andrew Einspruch

Filmmaker Andrew Einspruch recently attended the Australian International Documentary Conference and wrote a series of articles for the event, which he’s graciously allowed us to reprint here. These articles originally appeared in Screen Hub, the daily online newspaper for Australian film and television professionals.

The heretical statement came from Andrew Pike, MD of Ronin Films during a session called “Education Rights – Ensuring Profitability & Sustainability”. At the Australian International Documentary conference, dedicated primarily to making docos for television, Pike compared making TV doc to an extreme sport. “Like whitewater rafting, it is full of pitfalls. It is full of people shouting opinions at you about which direction you should go and how you should manage your affairs. It’s an area with a high adrenalin rush, and a lot of exhilaration. There’s high emotion when you get a pre-sale, and high emotion, despair, and doom when you get knocked back.”

By contrast, Pike called the education market the “unglamourous area of the film industry,” devoid of red carpets, billboards, bright lights, or posters with your name plastered all of them. “It is an area for worker bees,” he said. But worker bees can turn a profit.

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Truly Free Film

Keeping the Pirates at Bay

by Andrew Einspruch

Filmmaker Andrew Einspruch recently attended the Australian International Documentary Conference and wrote a series of articles for the event, which he’s graciously allowed us to reprint here. These articles originally appeared in Screen Hub, the daily online newspaper for Australian film and television professionals.

It comes down to money.

Ultimately, money is the reason most people steal (or “pirate”, “borrow”, “find”, “preview” – call it what you will) digital content, although other factors can come into it, like not wanting to wait for something to become available legally.

And money is the reason there is a problem with those people who are doing it, since it represents potential lost revenue to the content creator. “Piracy takes distribution out of your hands,” said Lori Flekser, from the Motion Picture Distributors Association of Australia. “You can’t control how you distribute it or how you monetise it. That is the worst thing about piracy to me.”

Flekser cited research from the Intellectual Property Awareness Foundation, who anonymously surveyed 16,000 people over 18, saying the the myth that “everybody does it” is just not true. While the survey missed the crucial under-18‘s demographic, it still showed that only 73% of those surveyed said they had pirated material. Of the 27% who do pirate, the vast majority (86%) said they do it because it is free. The bad news is that of those who regularly pirate, they would still do it even if a paid option were easily available.

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Truly Free Film

Filmonomics: Let The Right Ones In

By Colin Brown

Think you’ve got problems getting your films financed and seen by audiences? Well, you are in shockingly good company. In recent weeks, everyone from Steven Spielberg and George Lucas to Steven SoderberghJohn TravoltaMike FiggisDavid Lynch and Lynda Obst have all bemoaned the near-impossibility of getting their own pet projects onto the big screen. Taken together, their published comments are a scathing indictment of a film establishment that is only obsessed with pre-assembled projects that pander to the planet’s widest common denominators.

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Truly Free Film

A Call to Action: Teach Yourself!

By Reid Rosefelt

As I’ve said before, attempting to game social media is like trying to playing chess with a computer that can change the rules at will.   Every social media guru is aware of this, as social media changes like the wind.

This is why I’m not interested in writing “[INSERT NUMBER HERE] THINGS YOU MUST KNOW ABOUT PINTEREST.”   Rather than pretend to be an expert by recycling other people’s insights and research, I’d rather direct you to the original thinkers here.

More importantly, when you are dealing with something that is always changing, trusting experts isn’t always the best idea.  I think you should be proactive–not just a passive receiver of other people’s ideas.  I’d rather suggest a working process, instead of “tips.”  I’m talking about curiosity and a willingness to make your own experiments.  

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Truly Free Film

Diary of a Film Startup: Post # 30: Movie Live on VoD…Now What?

By Roger Jackson

Previously: The Vision Thing

Progress Bar

If you’ve submitted a feature or documentary to KinoNation, you were probably a little overwhelmed at first by all the metadata that’s required. We just made the process much easier by including a real-time Progress Bar, with a dynamic list of what required metadata is still missing.  We’ve also radically simplified the signup & login process. Check it out, the sooner you submit (or complete) a film, the sooner we can get it distributed.

Movie Live on VoD…Now What?

KinoNation films are now going live every day on our beta partners Hulu, Amazon and Viewster. And they’re getting watched. And generating revenue for the filmmakers. So now’s a good time to get into the weeds about marketing. i.e. what concrete steps can get people to discover your film on video-on-demand? And once they’ve discovered it, how do you get them to start watching…and keep watching ‘till the end credits roll? What’s at stake is whether your film makes, for example, a trivial $250 on Hulu in 2014 — or it makes $25,000. And then repeat that across a dozen other platforms? It’s what Gravitas Ventures CEO Nolan Gallagher calls “The Last Mile” — and like every other part of the filmmaking process, it requires imagination, hard work and persistence.

Early Success

Roseanne Liang submitted her documentary “Banana in a Nutshell” to KinoNation a few months ago. Roseanne in the doc is the “banana” — that is, white on the inside, yellow on the outside.

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Truly Free Film

Digital Distribution, a Complex Way to Make Money

by Andrew Einspruch

Filmmaker Andrew Einspruch recently attended the Australian International Documentary Conference and wrote a series of articles for the event, which he’s graciously allowed us to reprint here. These articles originally appeared in Screen Hub, the daily online newspaper for Australian film and television professionals.

Tim Sparke, CEO of Mercury Media International, subtitled his talk Digital Distribution in a Traditional Market at this year’s AIDC with “Only for the Brave?” It is certainly a brave new world for filmmakers, with distribution possibilities popping up like mushrooms, and with a few dominant players emerging in certain markets. This is the context within in which your distribution decisions must now be made.

“The digital market can no longer be ignored,” said Sparke. “Over the past two years, those distributors who have schooled themselves on the complexities of the market, balancing digital against traditional and experimenting with creative windowing, have seen good returns.”

So how do you come to grips with that complexity?

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Truly Free Film

Want to Add Thousands of Followers to Your Pinterest Page? Understand the Search Engine.

By Reid Rosefelt

We define and display ourselves in social media through our taste.  We show the books, movies, TV shows, theatre, music, technology, sports, food, and video games we like, and what we have to say about them.   Pinterest does that, with the difference being that it’s not as evanescent as Facebook and Twitter.  It’s not about what you said a minute or few hours ago, it’s relatively permanent.  It’s a series of baskets–your boards–in which you place your interests.  They are always there, you just keep putting more stuff in them.

Your boards are all dedicated to s