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A creative life is a precarious thing. Actions occur that could profoundly effect your ability to earn a living doing what you love. We get blindsided again and again, sometimes not recognizing things until they are too late to alter them. It’s one of the reasons I have tried to meticulously track for you what are the good thing and bad things happening in indie film these days. Yet, it seems to me we all need to do a better job of tracking them if we don’t want to get trapped in a future we won’t be part of..
My thought is that we should be able to define a series of issues in which we can put events, ideas, and articles into as they occur, helping each other stay on top of them.
The first step is to define the issues. That is what I am doing today . [...]
By Roger Jackson
Previously: Quality Control or Why Films Fail
Filmmakers frequently upload their movies to Kinonation after they’ve submitted to Amazon’s CreateSpace service. This is a truly excellent service for book authors, musicians and filmmakers to self-publish their creative work and make it available on Amazon.com. And in the context of films, a good way to make DVDs available without upfront expense.
BUT: for getting a film onto Amazon there are many reasons to use a specialist VOD aggregator like Kinonation, instead of CreateSpace. I’m not saying that out of self interest. Yes, Kinonation (or any aggregator) takes a fee or percentage of gross revenue – in our case 20%. But it’s much more about video quality, speed, marketing and, above all, access to many more Amazon US and global platforms, including Amazon Prime. [...]
By Paul Osborne
There’s been a recent battle-cry within the independent film community – lead by folks like Ted Hope and Jon Reiss – urging us filmmakers to publish the revenue generated by our movies, specifically in regard to new forms of distribution. Unlike the weekly box office reports of studio films, the actual figures for indies, particularly those using newer release methods such as Video-On-Demand, are hard to come by. Without them, and subsequently without any way of determining the success or failure of specific releases, it makes perfecting and improving new avenues of distribution quite difficult. How do you know what’s working, and what’s not, if you don’t see the results? [...]
By Roger Jackson
Previously: Why We’re Different
At Kinonation we’ve automated much of what has traditionally been manual. Films are uploaded to us instead of shipped on hard drives. Digital movie assets are stored in the cloud instead of locally at our office. Transcoding and metadata authoring is triggered automatically and happens in the cloud, replacing the existing process of “guy in a room for a day” — which is expensive and error-prone — with cloud computers that rarely make mistakes. But one very much human element we retain is QC — quality control. [...]
“I believe they are taking a community-minded entrepreneurial approach to improving our industry,” said veteran independent producer Ted Hope
I caught all the toads I could as a kid. I kept them in cages. One morning, they were all gone, and in their place was a note from Walter Wart The Freak Frog. This lovely short animation reminded me of those days…
Thanks yet again for Disposable Film Festival for tipping me […]
Lucky you! I got this great offer on Facebook that I can extend to you dear reader:
I wanted to reach out to you with complimentary passes (retail value $199 each) to the upcoming Content Industry Connect event for film, TV and digital media executives happening this Wednesday in at the London in west Hollywood. We thought that […]