While the market for professionally crafted online films grows daily, the budgets to create them don’t. In this new media landscape, how do production companies continue to produce great work and still run a profitable operation? Much has been discussed about providing amateur filmmakers online voices, but here we flip the script and discuss how professional filmmakers can make the economics of online filmmaking work for them. From Vice to Vimeo, meet four folks cracking the code on how to deliver online films worth watching.
We are in the early stages of a massive paradigm shift that will forever change people’s attitudes towards “consuming” film and TV. With shelves of books, video and music reincarnated in the Cloud, opportunities for indies are rapidly changing. A $10 gross profit on a DVD is now a nickel for a stream. The proliferation of digital platforms—with Microsoft, Amazon, Google and Netflix leading the charge—calls for nimbleness, flexibility and DIY savvy. These skills are old-hat to the indie producer. And as we know, connecting social media between your film and its audience is key. New Video moderates a panel of filmmakers and technology experts who will share their vision of the future, critical insights on new trends, and concrete strategies for survival in a post-ownership world. Specializing in indie, documentary and art house films, New Video distributes across streaming, downloading and cable VOD platforms and hard goods to a broad spectrum of stores and platforms.
While the academics preach of the wonders and promise and “mechanics” of “transmedia” storytelling, there are pioneering producers on the ground really doing it. There are good days and bad. There is money and there is not. And then there are the fans. What does it take to pull off successful multiplatform storytelling?
We are at the birth of a new industry, an inflection point, much like the history of film or radio or television or even the Internet where technology gives rise to a new means to tell stories. It is a time before the “institutionalization” of the multiplatform industry. And just like the history of film or TV the early pioneers are stepping out now and taking a lot of arrows. They are experimenting, learning what works and establishing best practices. They are master storytellers using and in some cases inventing new tools. They have failed and they have succeeded. And these are their stories.
An examination of the changing face of feature film production in the realm of the non scripted, improvised feature film. Acclaimed director Barry Jenkins moderates a panel discussion with Filmmaker Amy Seimetz, Editor Nat Sanders and Director of Photography Benjamin Kasulke to examine their changing roles as collaborative filmmakers in the world of the improvised film.
We will look at the recent trend of improvised feature filmmaking in the American Indie scene and take a technical look at how the roles of Director, Editor, and Director of Photography intersect on a script-less feature film. We will discuss specific examples from improvised feature films worked on by Seimetz and Sanders and Kasulke, two longtime Independent collaborators. Through discussion of filmmaking technique and audience Q&A we will explore the positives and negatives of working in this method.