1. Use the words from the question in your answer (especially in the introductino & conclusion).
2. Write a plan.
3. Remember PEE, point, example, explain.
4. Refer to as many up to date case studies as possible.
5. Mention the Film Policy Review Survey, 'It begins with the audience'.
6. Try to address issues from the point of view of the Institution & the Audience.
7. Write in the order of:
Production
Distribution/Marketing
Exchange/Exhibition
8. Basically, the Big 6 have the power to dominate
because they have the £ and the infrastructure (Vertical Integration)
to synergise their releases, marketing and merchandising and achieve blanket distribution of mainstream films.
9. It is digital technology and convergence which has given the smaller companies
(distributed mostly by Momentum, the larget indie distributor)
the opportunity to compete and get more niche films distributed to a more diverse audience.
The Digital Screen network has helped fund and encourage more digital screens and this, along with
convergence of media platforms, has given audiences greater choice of film and ways to consume.
This will only continue to flourish in the future (VOD).
10. Answer the question!
Good luck!
Monday, 14 May 2012
Wednesday, 9 May 2012
Tuesday, 8 May 2012
Monday, 7 May 2012
Digital Distribution Answers
1. When did UK distributors and exhibitors start to move towards digital distribution?
2005
2. What are the advantages of digital distribution compared to film?
more cost effective and logistics-light alternative to unwieldy model of 35mm print distribution. It will, eventually, be cheaper and much less stressful to send films as computer files to cinemas across the UK, than to transport 20-25kg tins of film in the back of a van.
3. In which countries has it been particularly successful?
China and Brasil.
4. In the UK, which institutions have particularly got to grips with it?
Film societies and schools.
5. What is the national body charged with encouraging digital film in the UK?
Digital Screen Network DSN.
6. How many cinema screens are there in the UK?
3,300
7. How many of these are digital?
211
8. In how many cinemas was your case study shown?
9. Describe briefly the process of digital transfer.
files transferred from a high definition digital master (either HDD5, or HD Cam).
The compressed and encrypted files will be sent directly to cinemas to be downloaded, de-encrypted (unlocked) and opened as files for screening with digital projection equipment.
10. Which key film institution was disbanded in 2011 and who took over their work?
UK Film Council
BFI
11. What are the implications for the future of digital distribution?
more titles, both mainstream and specialised, will receive wide theatrical openings, and this broadening of access at the point of release will dramatically reduce the overall theatrical period from 3-6 months to perhaps 1-3 months. Thereafter, films will enter into a second-run and repertory programming market aided by lower costs.
12. How might the share of profit change in the light of digital distribution?
The shortened first-run period will in turn bring forward the distributor's release of the DVD. And there's the rub. The adoption of digital technologies offers greater opportunities for distributors to create joined-up campaigns for theatrical and DVD releases, in which, increasingly, the theatrical opening is used as a way of providing a loss-leading marketing platform for the highly lucrative DVD leg.
In other words, the max profit will come from the DVD sales.
2005
2. What are the advantages of digital distribution compared to film?
more cost effective and logistics-light alternative to unwieldy model of 35mm print distribution. It will, eventually, be cheaper and much less stressful to send films as computer files to cinemas across the UK, than to transport 20-25kg tins of film in the back of a van.
3. In which countries has it been particularly successful?
China and Brasil.
4. In the UK, which institutions have particularly got to grips with it?
Film societies and schools.
5. What is the national body charged with encouraging digital film in the UK?
Digital Screen Network DSN.
6. How many cinema screens are there in the UK?
3,300
7. How many of these are digital?
211
8. In how many cinemas was your case study shown?
9. Describe briefly the process of digital transfer.
files transferred from a high definition digital master (either HDD5, or HD Cam).
The compressed and encrypted files will be sent directly to cinemas to be downloaded, de-encrypted (unlocked) and opened as files for screening with digital projection equipment.
10. Which key film institution was disbanded in 2011 and who took over their work?
UK Film Council
BFI
11. What are the implications for the future of digital distribution?
more titles, both mainstream and specialised, will receive wide theatrical openings, and this broadening of access at the point of release will dramatically reduce the overall theatrical period from 3-6 months to perhaps 1-3 months. Thereafter, films will enter into a second-run and repertory programming market aided by lower costs.
12. How might the share of profit change in the light of digital distribution?
The shortened first-run period will in turn bring forward the distributor's release of the DVD. And there's the rub. The adoption of digital technologies offers greater opportunities for distributors to create joined-up campaigns for theatrical and DVD releases, in which, increasingly, the theatrical opening is used as a way of providing a loss-leading marketing platform for the highly lucrative DVD leg.
In other words, the max profit will come from the DVD sales.
Case Study: Bullet Boy Questions
Extract here
1. Who is the director of Bullet Boy?
Saul Dibb.
2. Where was the film first screened in 2004?
Film festivals.
3. Who handled the release?
Verve Pictures.
4. What is their most recent release (look on their website)
breathing
5. What percentage of their releases are from first time feature directors(look on their about us link)
75%
6. Who handled the release of your case study, provide the link to their website, consider how effective their webpage is.
7. How did Verve manage to broaden the theatrical release?
Verve applied successfully for funds from the UK Film Council's P and A Fund.
8. How many prints did it have in the UK?
75
9. What did the advertising campaign consist of?
aimed for diverse audiences, interested in film and music, urban black and white. The campaign included advertising in all of the national daily newspapers that allocate significant space to film reviews, plus two tabloids, newspapers with a black perspective, a selective London Underground campaign and extensive use of radio stations with a concentration on R 'n' B and Garage, the musical forms with which Walters is associated
10. How does this compare to the ad campaign for your case study film?
1. Who is the director of Bullet Boy?
Saul Dibb.
2. Where was the film first screened in 2004?
Film festivals.
3. Who handled the release?
Verve Pictures.
4. What is their most recent release (look on their website)
breathing
5. What percentage of their releases are from first time feature directors(look on their about us link)
75%
6. Who handled the release of your case study, provide the link to their website, consider how effective their webpage is.
7. How did Verve manage to broaden the theatrical release?
Verve applied successfully for funds from the UK Film Council's P and A Fund.
8. How many prints did it have in the UK?
75
9. What did the advertising campaign consist of?
aimed for diverse audiences, interested in film and music, urban black and white. The campaign included advertising in all of the national daily newspapers that allocate significant space to film reviews, plus two tabloids, newspapers with a black perspective, a selective London Underground campaign and extensive use of radio stations with a concentration on R 'n' B and Garage, the musical forms with which Walters is associated
10. How does this compare to the ad campaign for your case study film?
The Logistics of Distribution Answers
Extract here
1. Who decides on the 'play date'?
The distributor will enter into an agreement with the cinema to screen the film on certain 'play-dates'
2. What is the distributors responsibility?
to coordinate the transport of the film
3. Why is it imperative that films are delivered on time?
1. Who decides on the 'play date'?
The distributor will enter into an agreement with the cinema to screen the film on certain 'play-dates'
2. What is the distributors responsibility?
to coordinate the transport of the film
3. Why is it imperative that films are delivered on time?
The showing of films in cinemas is a time-pressured activity. Cinemas spend their money publicising film play-dates and times in local papers or through published programmes. There's an imperative for the distributor to deliver the film on time.
4. About how much does a 35mm print cost?
£1,000
5. How are prints usually broken down?
prints are generally broken down for ease of handling into smaller reels, each lasting around 18-20 mins when run through a projector at 24 frames per second. So a feature print, in its physical form, will usually be 5 or 6 reels, stored and supplied in a single hard case, weighing in at 20-25kgs.
6. What are the disadvantages of using film prints?
35mm theatrical prints invariably suffer cumulative damage as they pass through different projectors, and the hands of various projectionists. There are also overheads incurred by the distributor for the storage of prints at the UK's central print warehouse in West London. For these reasons, each theatrical print has a finite lifespan. Distributor will invest in sufficient prints to provide optimum coverage through the first period of theatrical release, usually lasting up to 6 months. From this point on, many of the now used release prints will be destroyed, leaving only a small number to be used for second-run and repertory theatrical bookings through the remainder of the film's licenced period.
7. How was your case study film distributed? Digitally or 35 mm or a combination? Can you find out how many prints were developed?
Marketing: Prints and Advertising answers
1. What are the 7 elements of P&A?
The quantity and production of release prints and trailers:
Press materials, clips reels, images, press previews, screener tapes:
The design and printing of posters and other promotional artwork:
Press campaign / contracting a PR agency:
Advertising campaign - locations, ad size and frequency:Press campaign / contracting a PR agency:
Arranging visit by talent from the film:
Other preview screenings:
2. About how many prints might a specialised film have and how long will the tour be?
10 prints over 6months.
3. How many prints might a commercial mainstream have?
200 simultaneously screened.
4. How many did your case study film have?
5. Why is a favourable press response a key factor?
Because this is where many audiences first hear about the film from an independent source, audiences dont necessarily trust adverts or trailers.
6. What is the standard format for a cinema poster?
standard 30" x 40" 'quad' format
7. ~WHy is a poster important?
poster design is highly effective in 'packaging' the key attributes of a film for potential audiences.
8. Please insert a copy of your case study film poster and analyse how it features to key attributes.
9. WHat is the word to express coverage working at the same time.
tandem.
10. What is the key aspect for mainstream film?
scale and high visibility.
11. Why is distribution in the UK seen as riskier than in other countries?
high cost of printing.
12. How are distributors trying to get around this problem?
viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.
13. Who was the press agency for your case study?
14. What is another name for the actors or director?
'talent'
15. What sort of coverage did the key players in your case study have? Did they appear on Jonathon Ross, this Morning? radio etc?
16. What is the ultimate aim of marketing?
To create a 'buzz' and get people interested enough so they will go and see it.
The quantity and production of release prints and trailers:
Press materials, clips reels, images, press previews, screener tapes:
The design and printing of posters and other promotional artwork:
Press campaign / contracting a PR agency:
Advertising campaign - locations, ad size and frequency:Press campaign / contracting a PR agency:
Arranging visit by talent from the film:
Other preview screenings:
2. About how many prints might a specialised film have and how long will the tour be?
10 prints over 6months.
3. How many prints might a commercial mainstream have?
200 simultaneously screened.
4. How many did your case study film have?
5. Why is a favourable press response a key factor?
Because this is where many audiences first hear about the film from an independent source, audiences dont necessarily trust adverts or trailers.
6. What is the standard format for a cinema poster?
standard 30" x 40" 'quad' format
7. ~WHy is a poster important?
poster design is highly effective in 'packaging' the key attributes of a film for potential audiences.
8. Please insert a copy of your case study film poster and analyse how it features to key attributes.
9. WHat is the word to express coverage working at the same time.
tandem.
10. What is the key aspect for mainstream film?
scale and high visibility.
11. Why is distribution in the UK seen as riskier than in other countries?
high cost of printing.
12. How are distributors trying to get around this problem?
viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.
13. Who was the press agency for your case study?
14. What is another name for the actors or director?
'talent'
15. What sort of coverage did the key players in your case study have? Did they appear on Jonathon Ross, this Morning? radio etc?
16. What is the ultimate aim of marketing?
To create a 'buzz' and get people interested enough so they will go and see it.
Thursday, 3 May 2012
Wednesday, 2 May 2012
Examiner's report on January's exam
General Comments on Question 2
The question provided suitable differentiation of candidate responses. The majority of candidates addressed the issue of digital distribution and marketing more than that of production or audience. The question provoked a range of responses from candidates, many of whom were able to discuss the relationship between production, distribution and marketing in ensuring the success of media products. The most able candidates were clear about the changes that digital distribution and consumption were having upon the products that were produced.
The best answers were able to create a debate around the relative strengths of distribution practices and marketing strategies by institutions in engaging appropriate audiences through online media and incorporated technologies. Frequently, strong candidates were also able to draw contrasts between mainstream and independent producers, and/or mass audience/niche audience targeting. More candidates are able to show awareness of the trends and strategies that categorise the contemporary media landscape, which included the use of online technologies and distribution platforms. In this session, very few candidates attempted to answer the question without any kind of institutional knowledge or focussing exclusively on texts produced.
Strongest responses came from those candidates who had a wide range of relevant and contemporary examples of marketing and distribution strategies in their chosen area and could discuss them with confidence. Those candidates that fared less well used a ‘saturation approach’, writing all they could remember, rather than addressing the set question.
On the whole the terminology used for question 2 was good, including candidates’ discussion of convergence, synergy, horizontal and vertical integration as key media concepts. It is advised that centres ensure the appropriate preparation for this section by covering audience in the same depth as institutions.
Film Industry
The most common approach remains a comparison between major US studios with UK production companies, often focusing on digital distribution and marketing strategies. There was often an assumption that UK cinema is failing because of low cinema attendance, which obviously underestimates the importance of home exhibition windows in making UK film viable. There were some excellent answers that referred to the expansion of the Digital Screen Network and the issues posed and the opportunities it offers.
The question provided suitable differentiation of candidate responses. The majority of candidates addressed the issue of digital distribution and marketing more than that of production or audience. The question provoked a range of responses from candidates, many of whom were able to discuss the relationship between production, distribution and marketing in ensuring the success of media products. The most able candidates were clear about the changes that digital distribution and consumption were having upon the products that were produced.
The best answers were able to create a debate around the relative strengths of distribution practices and marketing strategies by institutions in engaging appropriate audiences through online media and incorporated technologies. Frequently, strong candidates were also able to draw contrasts between mainstream and independent producers, and/or mass audience/niche audience targeting. More candidates are able to show awareness of the trends and strategies that categorise the contemporary media landscape, which included the use of online technologies and distribution platforms. In this session, very few candidates attempted to answer the question without any kind of institutional knowledge or focussing exclusively on texts produced.
Strongest responses came from those candidates who had a wide range of relevant and contemporary examples of marketing and distribution strategies in their chosen area and could discuss them with confidence. Those candidates that fared less well used a ‘saturation approach’, writing all they could remember, rather than addressing the set question.
On the whole the terminology used for question 2 was good, including candidates’ discussion of convergence, synergy, horizontal and vertical integration as key media concepts. It is advised that centres ensure the appropriate preparation for this section by covering audience in the same depth as institutions.
Film Industry
The most common approach remains a comparison between major US studios with UK production companies, often focusing on digital distribution and marketing strategies. There was often an assumption that UK cinema is failing because of low cinema attendance, which obviously underestimates the importance of home exhibition windows in making UK film viable. There were some excellent answers that referred to the expansion of the Digital Screen Network and the issues posed and the opportunities it offers.
Working Title was the most frequently used case study, along with Warners, Fox and Paramount
as American examples; Warp, Vertigo and Film Four were used a number of times as case
studies. Newer UK productions such as Shifty, Monsters, Four Lions and Attack The Block were
used by candidates as contemporary case studies to good effect, with some candidates
attempting to address specifically the use of You Tube as a potential distribution platform for the
future media in discussion of Life In A Day.
Excellent answers engaged thoroughly with new media forms such as social networking sites, You Tube and blogging and how these relate to their chosen case studies. Other strong areas for discussion were in the consideration of audience consumption and distribution through digital technology such as iPhones, BluRay, downloading, iPads, and Sony PSP’s. Candidate discussion of this technology would be better supported with examples. Sometimes these technologies tend to be mentioned without reference to specific examples of products to exemplify how films are distributed and/or marketed using such technologies, which limits access to higher mark bands.
The advantages of digital distribution and exhibition were discussed, but with varying effectiveness at times, in part because candidates see film as being freely available as a digital format online, which is often not the case. Many candidates accurately argued that digital distribution, marketing and digital practices were important for the frontloading of film marketing campaigns, for example, The Dark Knight, Avatar, Paul and The Kings Speech. Most candidates are able to show awareness of the trends and strategies that categorise the contemporary media landscape.
There still remains a number of centres that are preparing candidates with inappropriate material. Potted histories of media companies or textual studies are unlikely to be useful for the kind of questions which this paper poses. Candidates should be encouraged to take a selective approach to their case study material, concentrating on what is most relevant to the question rather than trying to get their entire case studies down. Quite a few centres are relying on case study material which is rapidly dating and there needs to be more emphasis on contemporary examples. Far too many candidates using Working Title as a case study institution are still writing about films which are at least 15 years out of date.
Excellent answers engaged thoroughly with new media forms such as social networking sites, You Tube and blogging and how these relate to their chosen case studies. Other strong areas for discussion were in the consideration of audience consumption and distribution through digital technology such as iPhones, BluRay, downloading, iPads, and Sony PSP’s. Candidate discussion of this technology would be better supported with examples. Sometimes these technologies tend to be mentioned without reference to specific examples of products to exemplify how films are distributed and/or marketed using such technologies, which limits access to higher mark bands.
The advantages of digital distribution and exhibition were discussed, but with varying effectiveness at times, in part because candidates see film as being freely available as a digital format online, which is often not the case. Many candidates accurately argued that digital distribution, marketing and digital practices were important for the frontloading of film marketing campaigns, for example, The Dark Knight, Avatar, Paul and The Kings Speech. Most candidates are able to show awareness of the trends and strategies that categorise the contemporary media landscape.
There still remains a number of centres that are preparing candidates with inappropriate material. Potted histories of media companies or textual studies are unlikely to be useful for the kind of questions which this paper poses. Candidates should be encouraged to take a selective approach to their case study material, concentrating on what is most relevant to the question rather than trying to get their entire case studies down. Quite a few centres are relying on case study material which is rapidly dating and there needs to be more emphasis on contemporary examples. Far too many candidates using Working Title as a case study institution are still writing about films which are at least 15 years out of date.
Sunday, 29 April 2012
Prometheus trailer
On Channel 4 in the first advert break in 'Homeland' (9pm Sunday), they took the unusual step to use the whole ad break to trail the new Ridley Scott film 'Prometheus'. The emphasised his past successes of Bladerunner, Alien and Gladiator. They included a hash tag for audiences to tweet and their responses were played in the next ad break
The impact of the campaign was assessed here
Damian Lewis's Homeland soared to a new high of nearly 2.6m last night (Sunday), despite facing major BBC and ITV dramas.
As the mystery surrounding Brody began to unravel in 'Crossfire', episode nine of 12, 2.15m (8.5%) watched on Channel 4 at 9pm, with a further 421k (2.3%) on +1.
Increasing over 400k week-on-week, the US show edged its previous best in March and is cementing itself as one of Channel 4's best-rated imports in recent years.
The impact of the campaign was assessed here
© Showtime
As the mystery surrounding Brody began to unravel in 'Crossfire', episode nine of 12, 2.15m (8.5%) watched on Channel 4 at 9pm, with a further 421k (2.3%) on +1.
Increasing over 400k week-on-week, the US show edged its previous best in March and is cementing itself as one of Channel 4's best-rated imports in recent years.
- Channel 4 has a strong brand image being seen by ABC1 16-44s as being more trend setting, controversial (in a good way), provocative, innovative and ground breaking than any other terrestrial channel.
- Due to our challenging and alternative programming, Channel 4 resonates particularly strongly with young (27% 16-34 profile compared to 24% for average UK adult*) and upmarket viewers (44% ABC1 profile compared to 41% for average UK adult*). In addition, among ABC1 16-44s, Channel 4's advertising is seen as more relevant than any other terrestrial channel.
Wednesday, 25 April 2012
your questions
These were the aspects you wanted extra clarification with:
theory
terminology
production
web 2.0
synergy
convergence
vertical integration
push/pull
essay structure
past examples
independent cinema
conglomerates
ownership
theory
terminology
production
web 2.0
synergy
convergence
vertical integration
push/pull
essay structure
past examples
independent cinema
conglomerates
ownership
Tuesday, 24 April 2012
Cover work for Wednesday 25th April
Research the work of Film Four using the links on the blog entry below.
Answer this as an essay response:
'How much impact has Film Four had on the UK film industry in the last 20 years? What do you think their role will be in the future and will it ever be possible for such an institution to compete against the vertical integration that is possible with institutions such as Disney?'
You must plan this and then take 45 minutes to write it.
Answer this as an essay response:
'How much impact has Film Four had on the UK film industry in the last 20 years? What do you think their role will be in the future and will it ever be possible for such an institution to compete against the vertical integration that is possible with institutions such as Disney?'
You must plan this and then take 45 minutes to write it.
Link here to their blog with interesting articles on.
Reading your comments some of you felt less confident (naturally enough as its a tricky part), on the production element of film. Film four have an extensive page on their website devoted to Film Production
Monday, 23 April 2012
Friday, 20 April 2012
Film Distributors Association
A good UK site 'Launching Films'
, where you can see the top UK releases, week by week and who they have been produced and distributed by. Here is the proof of the domination of the film industry by the bigger institutions and may explain why its so hard for smaller, independents to make an impact.
They also provide an up to date news feed on the global film industry and present interesting stories, such as this one on Netflix making on demand available on windows phones. (convergence, divergence, audience, institution)
They show that there are 26 distribution companies in the UK, see here
, where you can see the top UK releases, week by week and who they have been produced and distributed by. Here is the proof of the domination of the film industry by the bigger institutions and may explain why its so hard for smaller, independents to make an impact.
They also provide an up to date news feed on the global film industry and present interesting stories, such as this one on Netflix making on demand available on windows phones. (convergence, divergence, audience, institution)
They show that there are 26 distribution companies in the UK, see here
Film Four: encouraging UK film industry
Reading your comments some of you felt less confident (naturally enough as its a tricky part), on the production element of film. Film four have an extensive page on their website devoted to Film Production
Thursday, 19 April 2012
Wednesday, 18 April 2012
Saturday, 14 April 2012
Independent and world films on demand from Curzon
Use this as an example of how film in the UK may develop in the future.
The future is already here!
Monday, 26 March 2012
BFI site for film statistics
This is one of the most up to date resources for cinema viewing figures.
Click here
Click here
This year marks the 65th anniversary of the peak
of British cinema-going, when an astonishing
1.6 billion tickets were sold – the equivalent of approximately 36 cinema visits per person per year. Of course, back in 1946 the cinema was the only place in which the British public could watch feature films. Television was still in its infancy
(the limited London service was re-introduced that year following its wartime hiatus) and the first trials of videotape recording at the BBC was another six years away. Both television and the VCR had a huge impact on cinema-going in the years that followed, and yet, as this Yearbook shows, our appetite for film has not diminished – in fact, it has increased
1.6 billion tickets were sold – the equivalent of approximately 36 cinema visits per person per year. Of course, back in 1946 the cinema was the only place in which the British public could watch feature films. Television was still in its infancy
(the limited London service was re-introduced that year following its wartime hiatus) and the first trials of videotape recording at the BBC was another six years away. Both television and the VCR had a huge impact on cinema-going in the years that followed, and yet, as this Yearbook shows, our appetite for film has not diminished – in fact, it has increased
In 2010, we watched feature films on 4.6 billion
occasions, that’s around 81 films per person. We
now inhabit a far more complex multi-platform
world of digital film consumption and we can
experience film through DVD, Blu-ray, on free-to-air
and pay television, online, on mobile devices and
of course at the cinema, which remains the crucial
first step in the lifecycle of a film. Wednesday, 21 March 2012
The future of the UK Film Industry-tongue in cheek article by the very funny Charlie Brooker
A reflection on the recent report into the future of the UK film industry
Here is the report that was released in February 2012
'A Future For British Film: It begins with the audience' : Report on the Film Policy Review Survey
There are 56 recommendations on how the British Film Industry can move forward, most of these for the BFI to implement and encourage!
Tuesday, 20 March 2012
Thursday, 15 March 2012
Digital distribution marketing campaign case studies
From 2010 but revealing case studies that demonstrate the range and time scale of marketing campaigns in the UK
Advantages of digital distribution (adapted from an American article)
Technology is helping tomorrow’s cinemas overcome some of the challenges that are squeezing the profitably from cinema exhibition today. Some of those challenges include:
The Challenge
High Distribution Costs – The cost of sending films out to theaters across the country and around the world is fixed today based on the cost of the film prints themselves, anywhere from £1200-2000 per cinema.
No Security – Distributors have little control over a film once it leaves their facilities. They have to hope that it’s delivered safely to the appropriate theaters and doesn’t fall into the wrong hands or is damaged along the way.
Degradation Issues – As a movie is screened it becomes progressively more scratched and dirty, eventually demanding a replacement print.
Limited Programming Flexibility – Currently cinema owners are only set up to receive 35 mm films. Since the cost of film production is so high there’s little content beyond major independent and studio movies that can afford to take advantage of a theatre screening.
Inflexible Advertising – Advertisers love advertising in theaters because they have a captive audience. But today’s theater advertising is limited to slide shows and rarely a filmed ad. But again, given the costs of film distribution not many advertisers can afford to send a 35 mm reel to each theater and even if many advertisers did so, the theater owners aren’t equipped to switch from one ad reel to the next.
The Solution
Digital distribution and exhibition of content in tomorrow’s theaters will overcome many of these limitations.
Streamlined Distribution – The distribution process will no longer involve bulky expensive film reels. Films can be sent digitally over the IP network to targeted theaters without ever having to duplicate a 35 mm reel. This streamlined distribution will pave the way for new programming options including concerts, sporting events, distance learning and more. Theater owners can program content quickly and easily, moving content from one auditorium to many, meeting market demand in a way they are currently unable to.
Integrated Digital Rights Management – Digital theater content will be secured before it ever leaves the content owners facility. DRM will enable tracking and license serving so theaters and content owners know exactly when and where the content is accessed.
Digital Preservation – The one thousandth time a digital movie is screened provides the same quality as the first time. There is no breakdown in the digital file as there is with film.
Demographically targeted advertising – Digital ads can be served from one location and targeted to specific theaters based on content being shown in that theater to a particular demographic.
The benefits of moving to digital distribution to theaters are clear. The costs for theater owners have been historically very to purchase the digital projectors and other equipment but some smaller theaters are finding that they can begin to achieve some of the benefits of digital cinema with off the shelf hardware and software.
Conclusions
Technology is changing the rules of the film industry just as it did for the music industry. With the growing interest from consumers to get movies and video content in different ways with different options, filmmakers and distributors are turning to technology to meet their demands. New technology like Windows Media 9 Series strives to achieve higher quality, greater efficiency, and greater audience reach all while driving down costs. All of these benefits open up new distribution opportunities to the film industry.
The Challenge
High Distribution Costs – The cost of sending films out to theaters across the country and around the world is fixed today based on the cost of the film prints themselves, anywhere from £1200-2000 per cinema.
No Security – Distributors have little control over a film once it leaves their facilities. They have to hope that it’s delivered safely to the appropriate theaters and doesn’t fall into the wrong hands or is damaged along the way.
Degradation Issues – As a movie is screened it becomes progressively more scratched and dirty, eventually demanding a replacement print.
Limited Programming Flexibility – Currently cinema owners are only set up to receive 35 mm films. Since the cost of film production is so high there’s little content beyond major independent and studio movies that can afford to take advantage of a theatre screening.
Inflexible Advertising – Advertisers love advertising in theaters because they have a captive audience. But today’s theater advertising is limited to slide shows and rarely a filmed ad. But again, given the costs of film distribution not many advertisers can afford to send a 35 mm reel to each theater and even if many advertisers did so, the theater owners aren’t equipped to switch from one ad reel to the next.
The Solution
Digital distribution and exhibition of content in tomorrow’s theaters will overcome many of these limitations.
Streamlined Distribution – The distribution process will no longer involve bulky expensive film reels. Films can be sent digitally over the IP network to targeted theaters without ever having to duplicate a 35 mm reel. This streamlined distribution will pave the way for new programming options including concerts, sporting events, distance learning and more. Theater owners can program content quickly and easily, moving content from one auditorium to many, meeting market demand in a way they are currently unable to.
Integrated Digital Rights Management – Digital theater content will be secured before it ever leaves the content owners facility. DRM will enable tracking and license serving so theaters and content owners know exactly when and where the content is accessed.
Digital Preservation – The one thousandth time a digital movie is screened provides the same quality as the first time. There is no breakdown in the digital file as there is with film.
Demographically targeted advertising – Digital ads can be served from one location and targeted to specific theaters based on content being shown in that theater to a particular demographic.
The benefits of moving to digital distribution to theaters are clear. The costs for theater owners have been historically very to purchase the digital projectors and other equipment but some smaller theaters are finding that they can begin to achieve some of the benefits of digital cinema with off the shelf hardware and software.
Conclusions
Technology is changing the rules of the film industry just as it did for the music industry. With the growing interest from consumers to get movies and video content in different ways with different options, filmmakers and distributors are turning to technology to meet their demands. New technology like Windows Media 9 Series strives to achieve higher quality, greater efficiency, and greater audience reach all while driving down costs. All of these benefits open up new distribution opportunities to the film industry.
Wednesday, 14 March 2012
Mini Questions: These should be answered in half an hour and be about a side long:
1. What are the issues raised by media ownership in contemporary media practice? (film making).
2. What is the importance of cross media convergence and synergy in production, distribution, marketing in the production companies you have studied?
3. What technologies have been introduced in recent years at the levels of production, distribution, marketing and exchange?
4. What is the significance of proliferation in hardware and content for institutions and audiences?
5. How do your own experiences of media consumption illustrate wider patterns and trends of audience behaviour?
Now choose an essay question: Use your notes, the blog and the internet to plan your response. Then put all but your plan away and spend 45 minutes writing this in quiet, exam conditions.
1. How important is technological convergence for the film industry?
2. How does the film industry target audiences?
3. In the light of new technology what will the film industry have to do in the future to continue expanding?
4. How importants is technological convergence for institututions and audiences?
5. What are the issues raised in the targeting of national and local audiences(Britsh) by international or global institutions?
Key terms to use:
Viral marketing, blanket distribution, niche markets, audience targeting, brand marketing, knowing a market, proliferation of hardware, push-pull exchange, powerm Web 2.0, ‘We Media’
Synergy, Vertical integration, convergence, divergence,
Merchandising, tie in deals, spin offs, cross platform marketing, interactive
Downloading, congomerates, budget distribution, independent, art house, negative distribution, piracy, target audience, niche audiences, democratisation, exhibition/exchange, BFI, FACT, White Bus
1. What are the issues raised by media ownership in contemporary media practice? (film making).
2. What is the importance of cross media convergence and synergy in production, distribution, marketing in the production companies you have studied?
3. What technologies have been introduced in recent years at the levels of production, distribution, marketing and exchange?
4. What is the significance of proliferation in hardware and content for institutions and audiences?
5. How do your own experiences of media consumption illustrate wider patterns and trends of audience behaviour?
Now choose an essay question: Use your notes, the blog and the internet to plan your response. Then put all but your plan away and spend 45 minutes writing this in quiet, exam conditions.
1. How important is technological convergence for the film industry?
2. How does the film industry target audiences?
3. In the light of new technology what will the film industry have to do in the future to continue expanding?
4. How importants is technological convergence for institututions and audiences?
5. What are the issues raised in the targeting of national and local audiences(Britsh) by international or global institutions?
Key terms to use:
Viral marketing, blanket distribution, niche markets, audience targeting, brand marketing, knowing a market, proliferation of hardware, push-pull exchange, powerm Web 2.0, ‘We Media’
Synergy, Vertical integration, convergence, divergence,
Merchandising, tie in deals, spin offs, cross platform marketing, interactive
Downloading, congomerates, budget distribution, independent, art house, negative distribution, piracy, target audience, niche audiences, democratisation, exhibition/exchange, BFI, FACT, White Bus
Monday, 12 March 2012
Feedback on essay: How has digital technology impacted on production, exhibition of UK film, with particular reference to your case study.
1. Begin by defining digital technology and that you are using the UK film industry as your case study (not every candidate is 'doing' this topic, so ensure the examiner knows your focus straight away.
2. Discuss in logical, chronological terms:
production
distribution
exhibition
3. When using abbreviations such as 'FACT', give the full name first and thereafter use the mnemonic.
Foundation for Art and Creative Technology (the art house cinema in Liverpool)
or
Federation Against Copyright Theft
both of these would be relevant for a response.
4. New topic =new paragraph.
5. Digital films are not necessarily cheaper to make but they are cheaper to distribute.
6. Be specific with your examples, this is why you have your case studies.
Up to date examples. of your own. This shows the examiners that you are independent learners with a keen interest in the media, and specifically the topic of the UK film industry.
7. Use £ statistics, not $
8. If you don't fully understand a word then don't use it. e.g.
'digital technology, and in particular convergence, has led to a proliferation of devices from which to access film'.
9. Dont forget theory,
David Gauntlett, 'Making is connecting', Web 2.0,
Naughton- new ecosystem, audiences no longer passive, have gone from push to pull.
The Digital Screen Network, a £12 million investment to equip 240 screens in 210 cinemas across the UK with digital projection technology to give UK audiences much greater choice.
Up to date examples. of your own. This shows the examiners that you are independent learners with a keen interest in the media, and specifically the topic of the UK film industry.
7. Use £ statistics, not $
8. If you don't fully understand a word then don't use it. e.g.
'digital technology, and in particular convergence, has led to a proliferation of devices from which to access film'.
9. Dont forget theory,
David Gauntlett, 'Making is connecting', Web 2.0,
Naughton- new ecosystem, audiences no longer passive, have gone from push to pull.
The Digital Screen Network, a £12 million investment to equip 240 screens in 210 cinemas across the UK with digital projection technology to give UK audiences much greater choice.
More info here
Melvyn Bragg on Class and Culture
information has been democratised'
'never has it been easier to share culture' (due to digital technology).
In this three-part series, Melvyn Bragg explores the relationship, from 1911 to 2011, between class and culture - the two great forces which define and shape us as individuals and as a society.
Melvyn looks at the last 30 years of culture in the UK, and examines whether class is still relevant to what culture we create and consume. The 80s brought the all-embracing force of Thatcherism - from the new, aspirational house buyers, to the disenfranchised industrial working class and the cataclysmic miners' strike. Melvyn Bragg talks to the cultural voices of this radical decade - dramatist Alan Bleasdale; Billy Elliot writer Lee Hall ('...art was for posh people...'); writer Sue Townsend; genre-breaking band The Specials; and Chris Donald, the creator of Viz magazine ('...a comic created by a lower middle class Geordie became an organ of the metropolitan middle class...'). These people broke through to become key voices not simply of their class but of the whole, changing, cultural landscape.
Melvyn travels to Leith, where he meets Irvine Welsh, a brilliant and mischievous literary voice of both the 90s rave generation and Scotland's disenfranchised working class. In the 90s, our leaders claimed we were all middle class, and culturally there has been a reaching out to the nation with free museums and galleries, fuelled by the National Lottery. But is this open, accessible culture simply masking newer divisions - a super-rich class of bankers and celebrities at one end and a poor underclass at the other, demonized by 'chav' culture? We may be more culturally democratic and varied than ever, but is wealth
Has digital technology democratised the class system?
Punk empowered working class people Pauline Black (The Selector). Has digital technology perpetuated this?
Giving access to everything to everyone?
Is this a way of defining 'We Media'?
Music as an agent of social change?
Cultural tribe becomes more important than social class? New romantics in 80s transcended class.
Amorphous middle class. Brookside (soap opera set in Liverpool in 80s)became a cultural landmark.
Russell Kane 'comedy is the most democratic form of art'.
but who is shown on TV is dominated by institutions.
Are we all middle class now?
Viz comic, how would that work now online? Only available in indie shops until they struck a publishing deal.
The Underclass, a swelling class left behind on crumbling estates. Amoral addiction & drug use, mass unemployment.
Do we all have access to cultural tools now due to 'We Media', as Irvine Welsh discussed?
Film & TV has always been more democratic, is literature the last undemocratic bastion of art and culture?
Now sees himself as one of the idle rich and upper class, rather than working class as he started of.
Chav, invidious class superiority. Bad side effect of expansion of middle class, those left behind.
Negative stereotypes & contempt and representation of W/C. Shameless. Where are the positive representations?
Media has created a new elite
A culture has created a celebrity superclass.
Where do we look now for new cultural charge?
Creativity of 'We Media'.
Pop music, Grime produced pop superstars from a new generation.
60% of government went to 7% of private schools.
Avalanche of access to new mass intelligentsia and culture.
Wednesday, 7 March 2012
Tuesday, 28 February 2012
Digital Distribution: A revolution in progress
1. When did UK distributors and exhibitors start to move towards digital distribution?
2. What are the advantages of digital distribution compared to film?
3. In which countries has it been particularly successful?
4. In the UK, which institutions have particularly got to grips with it?
5. What is the national body charged with encouraging digital film in the UK?
6. How many cinema screens are there in the UK?
7. How many of these are digital?
8. In how many cinemas was your case study shown?
9. Describe briefly the process of digital transfer.
10. Which key film institution was disbanded in 2011 and who took over their work?
11. What are the implications for the future of digital distribution?
12. How might the share of profit change in the light of digital distribution?
13. Was your case study distributed digitally?
Bullet Boy
1. Who is the director of Bullet Boy?
2. Where was the film first screened in 2004?
3. Who handled the release?
4. What is their most recent release (look on their website)
5. What percentage of their releases are from first time feature directors(look on their about us link)
6. Who handled the release of your case study, provide the link to their website, consider how effective their webpage is.
7. How did Verve manage to broaden the theatrical release?
8. How many prints did it have in the UK?
9. What did the advertising campaign consist of?
10. How does this compare to the ad campaign for your case study film?
The Logistics of distribution
1. Who decides on the 'play date'?
2. What is the distributors responsibility?
3. Why is it imperative that films are delivered on time?
4. About how much does a 35mm print cost?
5. How are prints usually broken down?
6. What are the disadvantages of using film prints?
7. How was your case study film distributed? Digitally or 35 mm or a combination? Can you find out how many prints were developed?
Marketing: Prints and Advertising.
1. What are the 7 elements of P&A?
2. About how many prints might a specialised film have and how long will the tour be?
3. How many prints might a commercial mainstream have?
4. How many did your case study film have?
5. Why is a favourable press response a key factor?
6. What is the standard format for a cinema poster?
7. WHy is a poster important?
8. Please insert a copy of your case study film poster and analyse how it features to key attributes.
9. WHat is the word to express coverage working at the same time.
10. What is the key aspect for mainstream film?
11. Why is distribution in the UK seen as riskier than in other countries?
12. How are distributors trying to get around this problem?
13. Who was the press agency for your case study?
14. What is another name for the actors or director?
15. What sort of coverage did the key players in your case study have? Did they appear on Jonathon Ross, this
16. What is the ultimate aim of marketing?
Subscribe to:
Posts (Atom)