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.
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