Film distribution in the digital age.
- INTERVIEW- Danielle DiGiacomo - Indiepix Documentary Film Coordinator
I met Danielle DiGiacomo of IndiePix at Sundance a couple of years ago and since then have enjoyed working with her on a couple of different things- my company will be distributing a film she associate produced, and we both screened films for the Tribeca Gucci Documentary Fund with IndiePix Studio’s incoming head Ryan Harrington. She is an insightful and dedicated documentary lover with a unique perspective on digital distribution.
[I]nfinicine: What made you interested in working with an online video market like IndiePix? Was it just the films or were you a techie type?
Danielle DiGiacomo [DD]: Although I was more proficient at say, recording 90210 episodes onto videotape than my mother, I would never dare to call myself a “techie.” I fell into IndiePix because of the serendipitous meeting (through my great friend and head of Narrative Acquisitions, Jordan Mattos) of IndiePix visionary Bob Alexander, the need for a job, my love of independent film, commitment to documentary, and a rapidly shifting industry that allowed a small, flexible company to meet previous unfulfilled needs of independent filmmakers.
[I]: What do predict for the future for indie filmmakers in terms of distribution options? Do you think there will still be theatrical options or will things be mostly online?
[DD]: I think there will always be room for theatrical, but I think studios and filmmakers have to start being more strategic about it. I don’t think the blanket strategy of marketing all independent films the same way is working anymore; even mini-majors need to shift their thinking about getting an audience into the cinema.
That said, I think that filmmakers are waking up to the fact that, despite its cache, theatrical is not only a money-loser but also not the way to attract the biggest audience possible. Theatrical has never been viable for more than a thimble-full of independent filmmakers. So, yes, I think theatrical will always be there, but more and more films will roll out theatrically in a different way (for example, day-and-date models). No one can predict the exact future of what will take off online and which models will be the most financially viable, but something will surely take off.
[I]: How technically adept are most of the filmmakers you work with at IndiePix at this point in time? Can you talk about the challenges filmmakers have with negotiating technology?
[DD]: Everyone is different, but I don’t think it’s that hard to be technologically savvy. 98% of the people I know have either an iPod or an iPhone, and most online technology is relatively user-friendly for people of our generation — particularly people who shoot on HD Cameras and edit on Final Cut Pro. What I do see a broad range in is the level of business and self-marketing strategy that filmmakers have. There is a spectrum ranging from super-savvy (think the 4 Eyed Monsters and their mastering of viral marketing, podcasts, MySpace, etc.) to nearly clueless (those filmmakers who never thought of where their film would possibly end up after the final cut). We have some filmmakers who have done loads of leg work promoting their films through the Internet, and know about every online or viral service available. It really is a full time job keeping up, but independent filmmakers absolute HAVE to think about their potential audience and distribution/marketing strategy even while in development stages.
[I]: What has been the evolution for IndiePix so far in terms of the way it tries to sell films and what do you see as the future strategy?
[DD]: IndiePix has evolved and expanded rapidly in the past three years. After starting out as a catalog with a Download-to-Own capability, we rapidly expanded to distributing exclusive DVDs on our website, and since then, have opened up channels in the retail, brick-and-mortar markets, and have even started doing some small theatrical and international television sales. We also have cemented a strategic partnership with the Cinema Guild to handle the educational market.
Recently, we launched IndiePix Studios, which will be under the direction of Ryan Harrington (formerly of A&E IndieFilms and Tribeca Gucci Fund). This will serve as one-stop shop for filmmakers. Each film is different and requires different focus and distribution strategies. We try to have very personal relationships with the filmmakers to make sure we maximize the possibilities for their particular film and capitalize on our mutual resources.
[I]: What advice would you give a filmmaker who is just beginning their project in terms of thinking about digital sales?
[DD]: Keep your digital rights or give them to IndiePix :). Seriously though, if you do give away your digital rights, give them to a company you can really trust, and for no longer than 3 years at a time. Do your research and talk to other independent filmmakers about their experiences. And attend as many panels and receptions as you can. Knowledge is power, and it is helpful to have honest advisors in the community.
- SuperU has contests for filmmakers to get on TV- are they a winner?
Back in my hometown Vancouver BC this weekend I had a chat with an old friend Clare Hodge, who I met when she was the Executive Director at Women in Film and Video Vancouver years ago, She has a new gig now at a website called SuperU, owned by Canadian broadcaster Super Channel, who are looking for content (and presumably viewers) online. Their scheme is to offer a contest to filmmakers, who can win cash and broadcast opportunities for their films. The site is (I’m assuming) being publicized through Super Channel itself… [more]
- INTERVIEW- D-Word Founder and Doc Director Doug Block
The D-Word is an essential resource for documentary film folks- an online community of filmmakers, writers, and broadcast/distribution types. Doug Block, the founder and co-host of the site, is an experienced filmmaker whose breakout film 51 BIRCH STREET, a personal documentary about family relationships, benefited from a grassroots marketing campaign that included utilizing the internet. Infinicine asked him about the transitioning state of distribution for documentarians.
[I]nfinicine: In your experience, are independent filmmakers making a transition to online forms of distribution? Are streaming and/or downloading viable revenue sources for a filmmaker who has essentially self-financed… [more]
- iTunes and Indie Films - Meet the Middleman
In a nifty bit of synergy, Scott Kirsner over at CinemaTech has taken on the question “How to get your indie film on iTunes?” (a somewhat similar query to the very first post in the Infinicine discussion forum). Getting your film on iTunes does seem like a bit of an apex at this stage in the digital distribution evolution, not only because iTunes sales are so commanding relative to other download services so far but also because they charge a relatively high price and share it with the rightsholder. (As with any customer, terms will vary).
The… [more]
- INTERVIEW- Online Markets - Indiepix.com
Indiepix has gone in a few directions over the last couple of years. The latest is a partnership with SnagFilms, Ted Leonsis’s widget-based monetized documentary player and a production end, Indiepix Studios. They are also staffed by very dedicated, delightful young people.
[I]nfinicine: What services are offered on your site?
[IP] Indiepix:
DVD Sale
Download to own
Download to disc[I]: What is the structure of the deal, i.e. flat fee, percentage of sale, ad revenue, etc. Provide terms if possible.
[IP]: We do not give advances, but we do all the design, production, manufacturing and marketing. The filmmaker receives a… [more]
- Welcome!
Hi there- welcome to Infinicine.com. Today we go live and start to offer you information and dialog about the brave new world of digital distribution. Please check out the site, the discussion board, and make comments and suggestions. And tell your friends and colleagues. Hope this will be a useful resource and you will learn as I do… [more]
- INTERVIEW- Educational Market- Rachel Gordon, Energized Films
The educational market is an often overlooked source of revenue for independent filmmakers, and has a lot of models that may be used by more “commercial” vendors in the future. Rachel Gordon has a background as a director, producer, ad writer. Her consulting business, Energized Films, helps filmmakers access the educational market.
[I]nfinicine: How are streaming/digital downloads changing educational distribution?
[R]achel Gordon: The process of change in education is pretty slow, but what is happening is that some colleges and universities have been able to experiment. They’ve
started licenses to stream on servers they’ve created and maintained… [more]
- INTERVIEW- Online Markets- Caachi.com
As part of the ongoing series of online markets, Infinicine presents an interview with Charles Choi from Caachi.com, a streaming and download service that specializes in independent film and is friendly to independent filmmakers.[I]nfinicine: What services are offered on your site?[C]aachi: Streaming online - We provide high resolution (700Kbps) streams of the films we offer. This enables a high-quality viewing experience.Download to own - the films distributed in this fashion are “DRM free”, to provide the greatest user flexibility in viewing.Download to disc - Films downloaded… [more]
- INTERVIEW- Online Markets- Hungryflix.com
There are so many online streaming and downloading markets popping up that it is difficult to know which ones are legit- and which ones will be a good place to sell a film. Infinicine has sent out a series of questions to a number of sites and will have a resource page on the new Infinicine site so you can compare their answers.Here are the answers from HUNGRYFLIX. Hungryflix specializes in content for portable media, i.e. iPod and iPhone as well as computers and Apple TV.[I]nfinicine: What services are offered on your site?[H]ungryflix:
- Blu-Ray- the Great home media Hope, but only for the chosen few?
Netflix recently announced that they will be charging more for Blu-Ray rentals- presumably because they are paying more for BR titles. As BR becomes a much more saturated part of the marketplace, due to PS3s and lower-cost BR players that are expected for Christmas, BR sales are expected to zoom, seeing growth much above the 300% reported in the last year.But for small distributors and independent filmmakers, BR feels still far off. Licensing and royalties involved in the patented manufacturing process make a BR disc at least double the cost of a standard DVD- and… [more]
