Economics of Filmmaking & Finding Your Audience

Hands up if your film has made a net or gross profit.

OK, anyone with their hands up, they can leave the room. You have nothing to learn here (although you are welcome to stay and gloat).

If you want to give up the day job and earn a living through the business of show, you have to have your content make money, right? I mean sure, "do what you love and the money will follow" is something people say to the aspirational but at what point can you make a profit from passion?

I'm not sure I have any answers, but I do have research. Data. 18 months worth of data.

I present to you, Exhibit A - an award winning short film made by a team of dedicated filmmakers with much care and attention - and a passion for storytelling. It was shot over a few nights in November 2014 and cut into its final form and uploaded to the public in January 2016. The film has been marketed to festivals across the world (as well as a lot of admin time this costs real money in terms of entry fees - arguably tax deductible as part of the marketing budget). It's now on Youtube with appropriate metadata tags for SEO.

208 views at time of writing.

Here I present to you Exhibit B - a genre and brand exploiting short video made in a few minutes by a single hack of a filmmaker with a focus on delivering an experience for a defined audience - and a passion for stereo sound. It was shot realtime and uploaded with no editing. Tagged in Youtube within minutes. The film has had no active marketing; only passive metadata tagging for SEO. Arguably someone had to buy the product in this video which is a negative cost - however, it is a tax deductible line item from the marketing budget, right?

423 views at time of writing.

I said I don't have any real answers. I don't. There can be no absolutes when markets are fluid.

Which movie would you rather watch, and why?

Which movie would you rather make, and why?

What I will say at this point is that both of these movies have generated revenue on Youtube - and at time of writing one of them has generated almost 400% more revenue than the other.

Top 5 Things I Learned Directing for TrashArts

Tuesday evening during a live film screening event an episode of "Making Of" being produced by TrashArts was shot before, during, and after. Directed by me.

DSLR and stereo X/Y mic atop for POV experience

Fortunately the actors knew their characters really well so it was more a case of AD'ing myself and being continuity person (fuck continuity) to ensure enough coverage for the edit.

What a luxury to just turn up, direct, and go home!

The current cut of "Episode 2" is a shade under 20 minutes. We shot it all in one location in just over four hours.

Anyhow, what did I actually learn?


1. Microphone technology, and audience tastes, have shifted to the point where the camera can truly become a character (indeed this was part of the brief).
Despite shooting at a noisy event in a pub screening the football and a short film night the Røde Stereo Videomic picked up a fine stereo soundstage and intelligible dialogue (at my direction, natch - move closer!)

2. The film clips of the late Michael J Murphy went down a storm.
Part of the script called for reactions to local low budget films. I opted to show excerpts from Murphy's Avalon (German release) and his commercially unreleased super8 Bloodstream.


Boy did those clips get reactions! Secretly, I think MJM would be proud even from the afterlife.

3. Let go but keep time.
This was shot from a five page treatment (by the time I'd added my notes) and then completely performed improv. In the chaos of the venue it was pointless to have done too much planning - but doing just enough to, well, provide direction (as the director, see?)

Antagonists

4. Texan four bean soup sure does look like puke.
I wasn't sure whether to go for the brown realism or the camera friendly yellow-y GAIN style demonic possession vomit. The brown stuff worked out just swell in context.

5. Great actors can appear from nowhere.
I don't know where Sam Mason Bell finds them, but the casting really works. Like I say it probably helps that the majority have already been through the award winning "Episode 1" experience. Those that hadn't were well prepared and researched - leading to some great ad-hoc exchanges between the protagonists and antagonists.


So despite the football running into extra time (I have no idea what the final score was) and a room full of local film nerds watching what film nerds watch at these events I brought a 20 minute episode in on time and under budget (the Texan four bean soup is a tax deductible line item I assured them).

All in all, 21st Century Fat Fox movie magic.

Taking Stock

No, not some euphemism for my Little Shop work on Hayling Island, this is more to remind me what the Deer Studios production slate is at this moment.

Whilst the world must wait for the Provincial's chilling horror short Dark Is A Long Way (coming 2016 ... we hope!), the Airninja movie method has been persistently seeing acquisition and edits through to final production.



1. After successfully collaborating with Mark Handley for Pompey Princess, we are now discussing potential for a video for his Christmas single. If it happens it will happen fast and within a couple of weeks.

2. On the theme of Christmas, I shot the interview with Graham Stansfield (famous keyboardist of Rare Bird fame amongst other fascinating things) to support the upcoming release of his new Christmas album release.

3. Earlier this month we had the first production meeting for another Mark Handley video, this one called Bella Ballerina - expected to shoot Jan/Feb 2016. We have great talent and crew lined up, technically elevating the production away from pure airninja-ry but remaining true to the spirit!

4. The next short film by award winning director Chris Jupp. Currently in pre-prod/development. I expect to be recording production sound and edit producing on this show. Likely shooting Q1 2016.

5. A dementia related project, or two. I have one ambitious project in development and another more practical, smaller, project slated to shoot over-night some time this winter. The one may lead to the other.

6. Longer term, the making of a feature length documentary on the work of prolific low-budget film director Michael J. Murphy. I have gathered several new interviews to augment the FilmRaker interview with the late director. This is an ambitious project in terms of cataloguing the material and assembling it into a coherent, comprehensive narrative without alienating Murphy's fanbase - but also allowing it to be accessible to anyone else.

Below is a small tribute video assembled from this last ever recorded interview with Murphy, and screened at his funeral earlier in 2015:



7. Recently completed edit of found-footage for the video to Owen Troman's single Winter Child (presumably another Christmas release). I worked on Owen's previous single in a similar fashion - finding footage and mashing it up into something symbolic for the track.


There are many other side-projects I am involved with but I am on the periphery or only providing services on-demand. Two most notable are both for Trash Arts, schedules TBA.

A busy season!

Big News For Sexton Lovecraft

Sexton before and after: colour grading at Deadbolt facilities, Farnham.

After a very successful screening of the 'short short' Sexton Lovecraft in Pompeywood, work has begun on a longer episode.

We will be joining Sexton Lovecraft in webisode 69,105 within the next few weeks.

Sexton Lovecraft has previously defeated the Zargs in animated adventures designed by Kevin Turrell, MND.

Character creator Mike Peter Reed has been pursuing a live action version for some time.

To date the character of Sexton Lovecraft has been portrayed by the same actor in both animated and live action forms.

Reed calls his character "a mash up" of everything from Sexton Blake, James Bond, Indiana Jones, Men In Black, Ghostbusters, Austin Powers, Sapphire and Steel, and of course H.P. Lovecraft.

The episode is being directed by Gav C. Steel, whose previous credits include the splatterfest that is The Shadow Of Death.

Can't wait!

What's This? I am totally sold on Rotolight RL48-B

It seems like only yesterday I was using a featherweight LED panel for my iPhone reportage. Then I saw a recommendation for this thing called a Rotolight, looks like a ringlight, what's the big deal? Ringlights are hefty juice-sucking encumbrances when you are running-and-gunning, right? Er, wrong. In fact I couldn't find anyone with a bad word to say about this particular Rotolight product. Well ... where to start.

How about starting by showing you the contents of the ~£100 package I bought from Amazon (reduced from £170):



And what's this? They are a British company?! Yaaaay!

My opinion based on a day's play?

THE GOOD
It's lightweight. Not featherweight but definitely no heavyweight. Mere grams.
It takes AA batteries. A boon if you are like me and keep zillions of the things around.
It only takes three AA batteries.
It's rated last for three hours continuous use on common alkaline, or four hours Energiser Lithium.
It's surprising bright (I'm not really sure why this would be a surprise, perhaps I was skeptical of all the positive reviews).
The kit includes basic filters and a bunch of other creative filters (gels).
The filters are stored in the light housing. Genius!
The filters are Lee filters. Hurrah!
I think I read somewhere it's weatherproof. There's certainly a decent seal, I would easily take this out  in the Great British weather without thinking twice about it.
Decent build quality.
High quality LED, you can tell they are the pricier type just by looking (without it switched on).
The kit comes with a carry pouch that is actually useful and well considered. Hurrah!
It's highly mobile and versatile, it's just what I have been looking for.

THE BAD
There's no electronic dimmer, so that is accomplished by adding in the included ND. Can't help thinking if only it had a dimmer then those AA batteries might chug along for an hour or two longer at dimmer settings. It's not really 'bad' and it does keep things simple and presumably reliable. I just have to complain about something, right?!
Adding in the gels is a bit faffy. Though I expect to get better at this the more I use it. So this is more a reflection on me rather than the Rotolight, hmmmm.

THE UGLY
There is just nothing ugly about this light. I've loved ringlights forever (since I first had to hold one up for Spidercom on an early music video - D:REAM was it, I forget?!) - this is the first one I've owned. Which is rather capitalist. Is capitalism ugly? Maybe. You can tell I'm struggling to find fault here.


Really looking forward to using this on a forthcoming Tagsta (working title) shoot.



Click the Amazon link above, save £70 while stocks last.

Quick Review of Manfrotto ML360 video light Midi LED panel

This light approximates a 16:9 screen horizontally and the basic ML360 is a 36 LED panel and ships without any additional filters. You do get a cold shoe adapter.

Here's what's in the box:


It's rated at 420 LUX up to 1 metre and reckons it will pick out your subject at up to 3 metres. I'm inclined to agree after my initial testing. Easily.

THE GOOD
This thing is as light as a feather.
It's small and should easily fit in a coat pocket or inside jacket pocket.
At the maximum brightness it's pretty darned bright, enough for fill at a relatively good MCU to mid-shot distance, or closer.
Dimmer built in.
Takes 4x AAA batteries you can find them anywhere.
I got a continual usage of three+ hours on Asda own-brand AAA alkaline batteries using 50% brightness (easily enough for MCU fill on a talking head for example).
Includes a ribbon in the battery compartment to allow easy and quick removal of dead batteries.

THE BAD
Only lasts around one hour at full power.
Takes AAA batteries that you will have to go and find if you are anything like me and have a bias for AA.
Doesn't ship with filter/diffuser and you don't appear to be able to buy these separately.
At lower brightnesses then at wide angles you will likely notice some vignetting. But hey, if you're doing lomography that will actually be a GOOD!

THE UGLY
The filter/diffuser you make yourself will be pig ugly clipped to this thing.
Quite plastic-y build quality, and the battery compartment is difficult to replace so it is flush with the body.
Expensive (approx £60 from Amazon at time of writing).


Despite its flaws, the killer features for me are its featherweight, small size, and 4x AAA batteries as a power source (though I would prefer if it ran from AA cells). Sure there are better lights out there but when running-and-gunning with minimal kit,

I will definitely be using this LED panel as part of my doco and reportage acquisition.