Back at the end of March the SEC (Securities and Exchange Commission) updated an investment scheme known as “Regulation A+” (got some SECy names over at the SEC!) which will go into action on June 19.
The Hollywood Report has an article about it, linked below, but I thought I’d chime in.
Reg A+ redefines how companies can seek investment in vehicles – including film. THR opines that this might change crowdfunding as Reg A+ offers the chance for the investors to get money back on their investment, unlike the normal Kickstarter model where the investor gets no financial return but gets ‘perks’ for stumping up the cash.
Be clear: this will change little for the small film trying to raise money. The paperwork requirement is too costly and complicated for a guy in his garage making a SciFi short. Reg A+ WILL help the studios to put films on the auction block for open investment – i.e letting them tap into a kind of crowdfunding that sits better with large corporations.
Reg A+ has two tiers (with slightly different paperwork requirements) – up to $20 million and $20 – $50 million. This will also be HIGHLY attractive to mid-level funders looking to get in on name productions.
I see this as potentially harmful to small filmmakers. If someone sets up a Kickstarter-like website that brokers these Reg A+ deals then that will seriously bite into small films. I’m sure the general public would rather put $100 into ‘Iron Man 5’ than ‘Mom’s backyard shenanigans’, especially if not only do funders get a digital download but they also get the chance to get a small return.
I’m curious to see the ripples here.
Here’s The Hollywood Reporter article
I am a huge fan of Ryan Connolly and what he has done with Film Riot. He is probably responsible for thousands of people trying their hands at indie filmmaking. So blame him.
Anywhosit, he has this ‘Epic Summer’ thing going on and the latest offering is the Connolly-produced short film ‘Real Gone’, written and directed by Seth Worley (@Awakeland3D).
The film is funny and a great example of what can be done in a weekend.
First, watch the film.
Then, because it’s FilmRiot and they love that behind the scenes stuff that shows you have to actually make a film, they’ve got 3 BTS episodes too!
These types of things are invaluable – for a couple reasons. First, of course it is great to see what they did, how they got the shots, etc. But, for me the bigger benefit might come in the form of inspiration and showing that you can do something so great on a shoestring budget.
Thanks Ryan and co.
Check out the BTS shows below.
There’s a whole whack of other content… click here to do the search on YouTube.
Fortune does a piece on why SnapChat – a piece of software I don’t understand for a generation I know nothing about – should be on the radar of anyone looking at the evolution of media companies.
It’s a brief intro into the possible future of the ‘no, we’re not only for sexting’ platform. Journalism and politics may be on the close horizon.
I love this series of articles from TheDissolve about my favourite kind of movie – Science Fiction. Only in Science Fiction (and children’s literature) can you deal with saving the world.
In this instalment they look at the time around the release of the first Star Wars and how other films – more entrenched in SF history – were in the works. Films like Superman, Star Trek: The Motion Picture and Flash Gordon all took a look backwards. So did Star Wars of course, but in a more veiled manner.
Anyway, the guys at The Dissolve will say it better (and longer) than I ever could.
Great whistleblowing article over on TorrentFreak about the state of things in the relationship between VOD services and the Studios.
What becomes abundantly clear is that major studios are in a monopoly position, capable of making outrageous demands. This is a system based on complete disregard for the consumer or concern about the quality of the product. That in and of itself is not unique – many industries are like that – but we like to fool ourselves into thinking that filmmaking has something (even if just a little) to with creating good to great art.
Be clear – if this is the studio method of operation then why would you, as an independent filmmaker, choose to be part of it? Because you want to work with A-list stars, win an Oscar, have a high budget?
At this point I have given up on that dream and decided instead to focus on a ground-swelling of production that targets the customer (crazy idea!) and not the sales pipeline.
Anyway, I digress.
Please read this informative if blood-pressure-raising article.
This post is really all about the enclosed video. It is a very cool idea – and simple, as the best ideas usually are.
The problem: you put your slider on your tripod. But at the ends the weight of the camera causes great instability leading to either the worst case scenario of the tripod falling over or at the very least the camera dropping down and not getting flat slides.
So, the clever clogs over at Konova have come up with a do-hicky (for want of a better term) that you can use to give additional supports to your slider from a single tripod.
It is very cool. I want.
NoFilmSchool (who? haha) have a brief article that summarises 3 crowdfunding platforms (Kickstarter, Seed&Spark and Indiegogo) and how they are now becoming important considerations for their distribution connections as well as their ability to help filmmakers raise funds.
Adam Leipzig over at Cultural Weekly talks my language… numbers!
Leipzig breaks down a couple of different scenarios for a low – he says ‘micro’, but here in Japan his number ($400k) is medium budget! – budget film as far as traditional or direct distribution. It’s good reading if you like to see simulations and numbers (which I do).
Of course, the problem with articles like these is that they are VERY subjective and your mileage might vary incredibly. So they are best taken as theory, not practice.
Ok, yes, there’s been a LOT of articles over the years that tell you a varying amount of tips (this article has 14!) on making your low budget film.
And yes, usually the things are the same.
But some of you (read: us) are not listening and keep retreading the same bald tires.
So I’m linking in this one.
Read, understand, absorb.
Hulu, for most people, is the content network people forget about.
But they have lots of outlets in many countries (more than Netflix I believe) and haven’t given up yet! One of their new cornerstones of strategy is acquiring more exclusive content.
Variety has a great article about this, plus its invaluable insight for us content creators into the inner workings of an exciting company and opportunity.