Saskia Wilson-Brown

This model starts with a premise, that which dictates that humans want to be slightly ahead of the curve. Better yet, people, being social, want to share discoveries with other people.

We live in a world of shifting distribution patterns. If there’s one thing we’re beginning to learn from watching our colleagues navigate the online world is that short films that are distributed for free online in concurrence with other releases (festivals, for instance) are in many cases doing better than their counterparts. One might then deduce that free online distribution does not hurt ticket or DVD sales. If anything, it can help to drive further sales and community (read audience) involvement, if exploited in the right ways.

Though not abundant, buzz-garnering examples like The Tribe, Four Eyed Monsters and We Are The Strange show us that, in film at least, being able to see something for free des not mean that people won’t support it financially. The Tribe enjoyed a full screening at Sundance while being available in its entirety online, whereas the creators of Four Eyed Monsters have been able to parlay their hard-earned community support into a fundraising drive to offset the cost of making the film itself. M Dot Strange, the creator of the controversial We Are The Strange, has been able to use the community he garnered on Youtube to propel himself into Sundance, and then further monetize his work through DVD sales. Countless other examples abound: Matt Hanson’s A Swarm of Angels project, Timo Vuorensola’s Star Wreck…

The reason these examples exist is, of course, fairly simple: People want to be part of the action, to own a little piece of the hot new thing. Oftentimes, social capital comes through possession, in addition – of course – to the thrill of simple exposure.

People want social capital (and the convenience of watching when they please) – but only if they like the film.

With all this in mind, the ideal online distribution system for short format film should incorporate tools that allow filmmakers to exploit this brave new world. Though these tools abound online, there is yet to be a website to consolidate all the elements of a successful online release. In short, it should provide the means to:

Exhibit film online in high quality format:

• This can be monetized through ad attachment (the YouTube model) or through low cost purchase fees (the iTunes model).

Build audiences

• By marketing their film online through embeddable promotion tools, email list consolidation, mass email capability, social networking and site traffic enhancers (digg, etc), filmmakers can grow the necessary social support that can lead to the success of a micropayment or DVD sales program

Allow for DVD on demand and DVD rentals:

• Monetize their film (at no cost to the filmmaker) through DVD on demand sales
• Partnerships with Amazon, Netflix, Blockbuster, and other DVD distribution companies

Allow for film downloads, as well as through third-party sites

• Partnership with iTunes
• Accommodate film download, with payment

Support payments

• Enable micro-payments and fundraising campaigns with targeted goals and e-marketing tools (widgets, etc)

Provide film market:

• Enable rights sales, list what is available

Blitz the web:

• Partnerships with online video hosting sites to push video content to all the online platforms

Allow for film distribution through other methods that could aid in monetization through targeted partnerships:

• Four-wall screenings through request widgets
• Non-Exclusive television distribution
• Mobile device distribution
• Other transmedia platforms such as game consoles

A final note: In direct dissonance with the DRM technologies, wherein filmmakers and distribution partners want to control material, how it’s used, and stop it from being copied, the ideal system would subscribe to (and support) the easy-access, free model wherein the filmmaker could negotiate rights, piecemeal.