Vimeo should create a TV channel
Nov 21, You would constantly need to reach your computer to select another video, and Going a bit further than that, I would love to see a Vimeo TV channel. that can stream “live” video (live meaning, not on-demand). credits, date uploaded, description, CC license if applicable, HD or not, new or not, etc. Comcast Channel 18 is Brewster's Town Government Channel with a 24 hour bulletin board Click here to view selected shows in High Definition on Vimeo. Jan 17, Calling video on demand the emerging wave of film distribution no video stores created by cable giants such as Comcast and Verizon, NoBudge simply shows free films selected by filmmaker Kentucker . Wilson and his team have, to date, released the film on Reelhouse, Vimeo On Demand, Chill.
The San Francisco-based company is also growing, expanding into Canada last September, adding Sony and Android devices in November, and striking distribution deals with Oscilloscope Laboratories, Cinedigm and Factory 25 in December.
The site selects its content but allows direct submission via a DVD or hard drive. None of the above discussion should imply that aggregators are inimical to a successful release. They can be a seasoned guide, opening doors that would otherwise remain closed and saving time by reducing the number of partners to deal with.
The trick, as always, is to find the right one. Others include KinoNation, distribber and TuneCore. Fees vary depending on the destination platform which often determines the amount of transcoding work required and whether the video is SD or HD. Through its Artist Services program, Sundance uses its brand to leverage alumni filmmakers onto iTunes, Amazon, Netflix and other sites, using New Video as an aggregator.
There is very little cross-platform cannibalization at this level; every platform discussed here allows you to retain your rights and exhibit across the Internet. They heavily favor direct payments from viewers for a permanent download or one- to five-day rental.
Similarly, SnagFilms is the only platform based entirely on advertising. The rest of these platforms function on a rental or purchase model, frequently with filmmakers setting the price themselves. Here are some of the most important platforms for filmmakers to be aware of: VHX A few pilot films have used this service, and it will become publicly available in early One unique feature is the ability to send protected press screeners. At least for now films are hosted on external sites, not on VHX.
A recent deal with Indiegogo allows filmmakers to start advertising during their fundraising stage, with the intent that they will stay with one platform from conception through distribution. Filmmakers set their own price and can include multiple videos, images and PDFs within one title in order to create special features and packages. Content is available for multiple platforms, and MoPix even includes in their premium account service specially made apps.
MoPix also acts as an aggregator for Google and iTunes. Since being purchased by Walmart inVUDU must limit its content to the same type of material you could find in a retail store, and hence, an aggregator or distributor is required to submit a film. PayPal going to filmmakers, Reelhouse offers one of the most generous deals out there. Again, filmmakers set their own price for both rentals and downloads: Films can be embedded on other sites as well as www. Pivotshare This service is for embedding on external sites only.
The payment options are intriguing for their many forms; they allow for rental, purchase, tips or even subscriptions to filmmakers with large or ongoing catalogs, much like a YouTube channel. This is obviously a crowded field, and there are many other companies, with new start-ups announcing almost weekly.
As new companies jostle for position, they will seek to differentiate themselves by offering new features for viewers and new services for filmmakers. Assemble, a London-based firm, is moving in new directions by being as much a publicist as a VOD platform, helping with issues such as website design and branding. Thus, the firm works with many filmmakers who are still in production, interfacing with Kickstarter or Indiegogo to build an audience through real-time making-of videos, social media pages, rewards for donations and other content.
When the film is complete, Assemble can even assist with merchandising and theatrical screenings. One of the first independent films to distribute through these sites was Indie Game: The Movie in June The Winnipeg-based team of Lisanne Pajot and James Swirsky chose to use VHX primarily because it was the only service offering the package they wanted.
They had the Aziz [Ansari comedy] special, but Indie Game: The Movie was their first film. The second point — DRM-free files — is crucial and a necessity for worldwide sales.
VHX continued to work with Pajot and Swirsky for more than a year, adding 23 additional languages, commentary tracks, coupon codes, dynamic pricing and, this past summer, a new anthology of short films that follow up on the feature. They have the same love for experimentation and data that we do. We built our own delivery system where we let people download the film as a QuickTime file.
This gives us the flexibility to offer superhigh-resolution files, optimized for inch and 4K displays.
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Several other independent delivery platforms have approached us, but we have not bothered to sign up with any. A somewhat similar example is 51 Paintings, the first in a series of five planned feature-length films in which Australian artist Shaun Wilson recreates medieval religious paintings with modern-day models.
All of the sites have been fantastic to deal with, although communication from FLM has been zero despite our numerous requests for help when we had uploading issues. The best upload facility is shared between MoPix and Chill, and the best award for site community is Reelhouse and IndieReign.
His advice to other filmmakers has to do with bookkeeping: First make note of the specific financial arrangements PayPal or notthen, for non-U. Finally, prep all of your assets well in advance and allow three weeks of revision and quality control between site registration and final upload.
Gumroad is one of these. It has the same overall ethos as the film-specific VOD services discussed above, but it reaches outside cinema to include music, books, software, games and other digital products. First-time director Gavin Strange came from a design background and was used to getting work in front of an audience quickly, which Gumroad facilitated. I had the options to [do that]. I had a ProRes version of the film and all the music cleared, but when I looked into those options they were so convoluted, and you had to go through lots of hoops to even get the chance to submit your film, it instantly put me off.
So I gave up hope of any sort of digital distribution until I found Gumroad. Best Performers A number of smaller specialty distributors had their highest grossing US films to date come from festival acquisitions.
Many of these films would not scream top box office though. One is arguably a massive disappointment. For a company known for challenging foreign fare and documentaries, this film is no exception, but has clearly connected with audiences. For a company based in Plano, TX that has to be a record. Drafthouse Films did so well with the documentary Act of Killing that TIFF is giving them a panel to explain their distribution strategy. He is also usually quite candid and unpredictable.
Cohen Media Group specializes in handling foreign films. They specifically seem to like ones from France. Yet their highest grosser is from Lebanon with French backing of course. While Eagles failed to attract buyer interest, Israel continues to be arguably the most reliable foreign language performer in the US. For documentaries, TV continues to be the major power player and nobody ponied up more money for a Doc at the fest than HBO did when they partnered with Cinedigm for Love, Marilyn.
Both films saw much better results on VOD, but at the end of the day, compared to top performing acquisitions titles from these players, both can be considered disappointments. African and Eastern European Cinema A look at the films that failed to secure distribution last year and it becomes clear that buyers were not enjoying anything from the entire continent of Africa.