Over on Voce Communications, Movie Marketing Madness mogul Chris Thilk considers the ramifications of a world with only positive feedback. Big brands are in his eyeline, but as independent artists, it is worth considering the opportunities we offer our audiences to interact and engage when we tell them things about what we are doing. Too often there is a one-way flow of information, partly because that was the old standard model (i.e. things like press releases, putting up posters, even sending out email) and partly because of our suspicion that we don’t have the resources to manage a lot on incoming traffic.
With more options in social media to become anti-social, it’s useful to make a conscious effort to look for options in blogging, Twitter or Facebook that allow more engagement- not just with us, but with other people interested in our work. In other words, the more we can allow people to find each other through their interest in what we do, the more what we do will be easy and remunerative for us. That was the initial strength of social media. We can continue to build and expand collaboratively rather than get dulled by “Like” buttons.
I’m doing a series of blogs over at NAMAC this week. The first one, called The Future of Networking, looks at how the hackathon could replace (or at least supplement) the typical panels and conferences we currently endure in the pursuit of connection.
The Tribeca Film Institute’s New Media Fund was launched this year to support social issue nonfiction storytellers expand the scope of their engagement with audiences. Designed to fund ambitious projects that expand the ideas of what is possible and available to documentary filmmakers and storytellers via the web and other digital media as well as other kinds of unique or cross-platform projects.
Ingrid Kopp, Editor-in-Chief of Shooting People has been working with TFI as a consultant to launch the fund and here she talks about some of the ideas related to the new opportunities.
Cross Platform/Interactive/New Media/Transmedia… No matter what you call it, there are interesting opportunities for filmmakers to bring their stories to audiences in new and compelling ways. Born to some extent from the social media revolution, in which the audience has become a participant in a formidable way, these new approaches look at telling the story in the best way possible, regardless of what size the screen. Many of the tools available now allow storytellers to engage with the audience in new ways, incorporating the audience’s location, preferences or even content to further the narrative.
The last post gave an example at Storify, a social tool. From the excellent blog Supercalafragalisticexpealadocious, I found these great tools: HistoryPin – recreates a moment in history through photos and stories Voxora – lets you leave a voicemail at a certain spot, via FourSquare Geoloqi - lets you leave a note or clue at a certain spot, via FourSquare Magma – a content publishing tool WireWax – a video tagging tool that lets you put links into video in an attractive manner ThingLink – make photos and images more dynamic with audio, social and more
Here are a few more that might be fun to play with: Popcorn.js Mozilla’s HTML5 video and web integration tool Condition ONE‘s very cool interactive 360 video via iPad app Crowd Controls – this audience tracking tool can help you figure out where to put your geolocational efforts
Fundamentally, the most important thing about the new possibilities is that there are really cool ways to tell stories and storytellers should feel encouraged to think creatively about how the story could emerge. The tools should not be the starting point. Some of the coolest new media projects are simple and elegant uses of technology that is not cutting edge; instead they innovate for expanding the story in an unexpected way.
Transmedia aka “Cross-Platform” storytelling has gained traction from the most commercial content creators in advertising to the most artistic media makers at the National Film Board of Canada. To look at how transmedia can enhance an independent filmmaker’s relationship with their audience, their story, and their revenues, I will check out a few of the tools and resources available to help you create a more dimensional experience.
First up, Storify, a tool to create stories from different content feeds. Here is a Story I made to give you a sense of what is available.
Digital is cheap and sexy but sometimes, you really just want to go old school. That’s the premise of FLICKER NYC, a Super-8 Festival produced by filmmaker and Final Cut Pro expert David Teague (full disclosure: we went to high school together). FLICKER offers new filmmakers the opportunity to make a movie the old fashioned way: on film, but with a DIY aesthetic and many surprises along the way.
Check out the next FLICKER NYC at their 10th Anniversary this Sunday, April 17th, 7PM at Southpaw in Brooklyn, 125 5th Avenue (b/w St. John’s & Sterling). A showcase of international Super-8, a raffle, and afterparty will be highlights.
Editor’s note: this article was initially based on an interview and promotion sent by Cinema Purgatorio. Please read the comment below: it looks like I had this all wrong. The idea of putting up a segment of a film for free is still available and untried- let me know if you give it a shot!
All filmmakers face the challenge of finding innovative ways to sell digital downloads. Cinema Purgatorio, aka Ray Privett, has come up with a novel way to sell Science Fiction film ZENITH online as it is reaching the end of its theatrical/semi-theatrical run.
CP is putting the first third of the film up for free through Vodo and Bittorrent. The basic idea here is familiar- the “drug dealer model” in which the unwitting viewer will become so enraptured by the free taste of the film that she will be forced to go looking in dark alleys (or on iTunes) for satisfaction. It’s a great idea because it gives viewers a chance to see if the film is worth their $11.99 and offers a sense of “getting something for free” which may attract more casual viewers.
In this case, the release is a part of a crowdfunding effort to complete the series of films. The film has been downloaded 455545 times through Vodo and has gotten $4808 in donations. I’m not sure how pleasing that math seems- does a penny a view cover the bandwidth? (Sorry, I forgot, it’s P2P!)
I’m often asked, ‘how can filmmakers get people to buy their film when it’s available to download for free?’ I think helping people to see the value of the work and to feel invested, even in some small way, is a good way to start.
Laure Parsons >> March 27, 2011
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x + x connect provides marketing and distribution services to filmmakers, digital media entrepreneurs and other businesses. Started by Laure Parsons, filmfwd's founder, in 2006, x + x connect can help you find your audience and engage them innovatively and effectively.
Over on Voce Communications, Movie Marketing Madness mogul Chris Thilk considers the ramifications of a world with only positive feedback. Big brands are in his eyeline, but as independent artists, it is worth considering the opportunities we offer our audiences to interact and engage when we tell them things about what we are doing. Too often there is a one-way flow of information, partly because that was the old standard model (i.e. things like press releases, putting up posters, even sending out email) and partly because of our suspicion that we don’t have the resources to manage a lot on incoming traffic.
