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Thailand 2017 Salary Guide

posted Nov 1, 2017, 6:35 AM by Shayne L. van Vlerken   [ updated Nov 1, 2017, 6:35 AM ]

View or Download here: Thailand Salary Guide 2017 .pdf


Thailand 2017 salary guide

127-facts-you-probably-didnt-know-about-the-video-marketing/

posted Sep 26, 2017, 7:37 AM by Shayne L. van Vlerken

Source: https://websitebuilder.org.uk/blog/127-facts-you-probably-didnt-know-about-the-video-marketing/
Author: Josh Wardini
Community Manager at  Websitebuilder.org
About me: Location Incapable Internet Enthusiast | Re-Designer of the World Around | Bodybuilder trapped in a Computer Geeks Body. 
 



video marketing facts thailand

How to Compare Marketing Video Proposals in 3 Steps

posted Jul 24, 2017, 12:00 PM by Shayne L. van Vlerken   [ updated Jul 24, 2017, 12:00 PM ]

How to Compare Marketing Video Proposals in 3 Steps

This blog is designed to save you money by helping you choose the right video quote, even if you don’t know a lot about video. It includes many real world examples to help you find your way through the maze of video proposals.

Everything starts with the video proposal – the document that’ll define what you actually get in your final video, whether your video is in a filmed, digital or animated style – or any mix of these.

As an experienced video buyer you’ll obviously already know this.

But when you’re presented with a series of proposals, how can you tell which quote will deliver you the value you need, in the style you’re looking for? And where can you make effective savings?

Here are the 3 steps to comparing video proposals, so you can compare apples with oranges, and come out on top by paying less than you might have otherwise.

Step 1 – Day rates

No matter what style of video you’re making, every marketing video production services company will have 2 core base rates:

  1. The studio edit day rate
  2. The film crew day rate

There can be other day rates for different specialists, but these two rates will always be there, so it’s where to start.

This is because studio edit time and film crew days will likely be where the bulk of your money is going in the production, so it pays to know where you’re spending the most.

No matter what other video production costs are involved in your quote, for example a cast of actors, a celeb presenter, set design, or a dozen library footage clips, the core day rate allows you to compare and contrast in a fair way, and make you own mind up in an informed manner.

Sometimes the edit day rate is called motion design, or something to do with animation, but it’s still the core day rate you’re paying.

Similarly with film crews: There may be 2nd or 3rd cameras or specialist steadicam or lighting. But the core 1 director plus 1 camera operator rate should be clear and obvious to you from the quote.

If your proposal doesn’t show this level of detail on day rates, then ask your video company to revise their quote to show these details.

Your quote should also be summarised under 3 sections:

  1. Pre production
  2. Acquisition (filming, buying stock, voice etc)
  3. Post production.

This makes broad comparison even easier.

When you know all the rates, you can compare and contrast proposals and see where you’re getting the best value for your money.

What if you’re buying through a marketing agency?

Still ask. It’s a reasonable request. Most agencies like to operate transparently, just like your accountant or legal advisers. Even if it costs more you’ll still be getting value as their dedicated marketing team will take the trouble to learn your company & marketplace inside out, and bring their specialist knowledge & flair to the production, as well as select the best video subcontractor.

Remember: Neglect day rates at your peril.

Step 2 – Other costs

Over and above core day rates, your video proposal will include other costs, which you may not fully understand – yet.

Metal Wheel Concept

Here are 5 examples of different types of marketing video choices, which may baffle you when you first see them:

Example 1: Your video may be 100% all-animation throughout, with options for developing a uniquely appealing animated character. You have to compare this higher origination cost with buying-in an off-the-shelf “cartoon smurf” character, which may be quite fit for purpose.

Example 2: You may want a digital video that includes video library clips. While one production company includes 5 clips in their quote, another company may suggest you need 20 clips. How do you tell the difference? Are you being sold short somewhere or not?

Example 3: You may need filming with an actor or presenter, as well as voiceover, and their rates may vary a lot, especially as one company may know a low cost, up & coming talent, while the other company is offering a proven established winner who costs more.

Example 4: One company is suggesting you need less filming days, while another company is saying that you may well need an extra ½ day or more filming to shoot a VIP or CEO or client onsite. They say this because it’s well known that VIPs never agree to shoot dates that fit into your tight schedule (they have tight schedules of their own and you have to fit around them, not vice versa).

Example 5: The last example is travel costs, which can vary widely. For example, some talent want taxis from the station. Some film crews charge the maximum possible rate for diesel or evening meals. But you don’t find out until later. You need this spelled out up front.

All of these Other Costs represent increases in quality that you may well need or want. They’re intended to give you a better finished video. Sometimes it may look expensive – at first – but if it makes a better video that delivers more added-value to your company, then it’s obviously worth it.

As a last check, read the terms & conditions of business, as it may include cost or legal conditions you weren’t aware of. Challenge these conditions if you don’t like them.

Remember: Whatever quality standard you select, your quotation should read crystal clear like a menu in a restaurant.

Step 3 – The length of the proposal

When video proposals vary so much in length & content, it makes choosing a supplier even harder for you.

So let’s break this down and take a look under the hood.

There are broadly 4 types of marketing video proposal:

  1. Short quote
  2. Long quote
  3. Optimal quote
  4. Online price list quote

Option 1: The Short Quote

Single page quotes do little to describe the creative treatment required for your video. Be sure you understand this, as what you expect to get may turn out to be an add-on you have to pay for later.

Example 1: Company A’s quote may be offering to light the scenes in your video, so their video will cost more as lighting takes longer to set up.

Example 2: Company B’s quote seems cheaper, but they’ve deliberately ignored lighting, telling you that a modern camera doesn’t need lights, even though you know at least one of the shots will be a close-up interview.

So which quote do you pick? Does a Short Quote even show this?

The answer is to question them both, and ask their reasons. Then decide what you want.

Don’t take a short quote at face value and buy on price alone. Check day rates, and other costs, and ask.

Here are some more similar choices today’s marketer is faced with:

Example 3: Company A’s quote include actors. while Company B’s quote expects to use your own staff to fill in as extras.

Example 4: Company B’s quote includes shooting equipment like steadicam or glidetrack, and a 4k HDR camera. Company A’s quote is just a bare fluid head tripod with standard 1080 HD.

Example 5: Company A’s quote includes extensive post production effects perhaps with a sophisticated creative concept onboard. Company B’s quote is mostly basic editing with a few tricks, and a standard buff & polish included (which might be all you need).

Short one page quotes will hide much of the above, and focus solely on price.

Unless you know exactly what you’re buying, a short quote can hide too much.

So be sure to ask for detail about exactly what you get for your money, particularly the day rates.

Option 2: The Long Quote

Although they should be a delight to read, long corporate video production quotes can sometimes be dense and tricky to understand.

For example, consider a professional 48 page pdf video proposal full of illustrations and figures designed to impress, with your logo & name prominent on the front page, and a concise Executive Summary.

Why not take a look and see how much of the content is actually about you and your organisation?

Then check how much of the content is “stuffing”, ie, generic filler copy designed to sandbag you with endless facts & figures about the video production company, generously overlaid with some big client name dropping.

Is this what you really want? To be sandbagged with generic content? Especially when you want your video crisp & punchy. It tells you a lot about their attitude.

Nonetheless, it can be quite common if you’re dealing with an inexperienced sales rep or account manager, and less so if you’re talking directly to a full time marketing video producer.

Here’s a simple way to check sandbagging:

  1. Do a search on your pdf for your company name (control-f does this nicely), ie, how many times your company name or brand reoccurs?
  2. Does your company name or brand appear much, and is it obviously auto inserted into generic sections in an attempt to personalize them?

Option 3: The Optimal Quote

The best marketing video proposalis the one that focuses on the specific details of your future video presentation and helps you visualize exactly what you’re getting.

For example:

1 – It will show a specific creative treatment – explaining ideas specific to your company.

2 – The treatment & accompanying video sample links will help you to visualise how the video style might look once produced

3 – It will include a Video Production Schedule highlighting the steps (script, storyboard etc) & the amount of time you’ll need to take to produce your corporate video – and not just a Delivery Date. This will help you plan ahead better, especially when colleagues & staff are involved.

4 – The quotation part of the proposal will be carefully detailed showing all rates clearly, with explanations as required.

Option 4: The Online Quote

An Online Quote is a price list on a web page showing a standard marketing video package, showing what you get for what you spend.

This can work to your advantage when a standard package might well be exactly what you need.

And it will usually cost you less.

The Online Quote can be fine for many productions. And if you need extras & options, they can easily be added during discussions.

But beware that it might lack the level of creativity you need for an effective win in your marketplace.

Remember: The proposal is there to help you visualize and understand, not baffle.

Wrapping it up

It’s easy to gloss over a video proposal and just look at the bottom line, especially when reading from a cell or mobile on the move.

But ask yourself – do you understand any or all the jargon? Or the purpose of everything mentioned in the quote.

If something isn’t clear to you now, what will this mean later, once you’re committed to a full video production spend?

Remember: You’re buying marketing video production services from a company you’re trusting to tell your business story in a crystal clear way. Their quote should reflect this clarity.

No Hidden Extras

This is both obvious and vital, because you want a single price to pay, something that you can budget and account for.

It’s smarter to ask for more details, even if you don’t fully understand them.

Here are some examples of details you may have to consider:

Example 1: The number of days (or hours) shoot, and the daily rate for this. And is there any indication of the impact that less days or more days filming will have on your video?

Example 2: Exactly how much graphics, effects and animation are included, and the daily rate. How many seconds of graphics, overlaid captions, titles etc do you get?

Example 3: If your video is all digital, how many stock library video clips are included – and at what price ie, how much are they marked up? 15%, 30% or double?

Example 4: If your video is all animation, perhaps with animated characters, then how much time is included for animation design, layouts & objects, as they all have to be drawn by an illustrator, or bought-in as stock, or maybe a bit of both. You should feel very clear about this from your quote, as it’ll impact on the final quality & originality of your programme.

Example 5: The number of hours estimated for editing, animation and post-production, and the daily rate. This will vary, and quickest isn’t always best.

Example 6: What options do you have for including additional creative ideas as the video project progresses – while still staying in budget. I’ve personally never made a video where the client didn’t get a fresh unbudgeted idea mid-production. It happens, and probably to you.

Example 7: Check you have full legal copyright and ownership of all the footage as well as the finished video.

Be frank with your marketing video services provider. Ask where the potential for hidden costs may arise. It’ll test them, and you can gauge their response.

Summary

Comparing marketing video quotes isn’t as obvious as it sounds, but our 3 steps make it easier.

1: Always look at day rates first.

2: You need to know how spot hidden costs, or hidden extras, or what the options mean.

3: Don’t be fooled by the appearance of the proposal. Always dig deeper. You’ll save.

Always ask for clearer explanations when you’re unsure.

You need to know how to compare marketing video proposals on more than just price, otherwise you’ll be comparing apples with oranges. Get it right and you can save a lot of money, while delivering great value for your company.

How To Get Into The Film Industry In Thailand

posted May 28, 2017, 1:52 PM by Shayne L. van Vlerken   [ updated May 28, 2017, 1:58 PM ]

Posted on 17. March 2016 by Robin Schroeter

thailand talent agency bangkok actors extras performers

This is an easy guide on how to get involved in the Film Industry in Thailand – and I’m talking in front of the camera. There are 9 simple steps as a guideline:

1. Get Some Good Headshots / Portfolio Shots

Picture Credit Boaz Zippor

Your face is going to sell you. To get your foot into the door of any production be it TVC, Film or TV is a good headshot of yourself. So your first step should be to get some good headshots of yourself.

A good headshot should show your natural self, best without any make up. Just the way you are, so film people can get an idea of what they can do with you.

There are quite a number of good photographers in Thailand to get you headshots.

Here is a list of photographers in Thailand that can make a portfolio shoot for you

2. Send Your Headshots / Portfolio To All Agents

This may seem counter-intuitive at first. Why would you send your portfolio to all agents and not just one?

In Thailand the industry works different than in other countries. Each of the agents in Thailand has a special relationship to some production companies. So if you don’t send your profile to all agents you may loose out on some jobs simply because you’re not being presented for the job.

3. Join Some of the Actors Facebook Pages

While there is a lot of gossip going on on the Facebook pages of the actors in Thailand, agents as well as some casting directors post jobs there. It is a good way of staying updated on what is going on.

The biggest group is definitely the Facebook Group of the Actors Association of Thailand

After that I’d recommend to join Thailand Extras, Talents, Models & Actors Community

There are several others that you can find if you look around a bit.

4. Extra, Featured Extra, Support, Main

The first 3 steps should enable you to get at least some extra jobs.

Extra jobs enable you to get a glimpse at what it is like to work on set. You’re part of a crowd. You hardly get any attention, but it’s good to get some experience as to what it is like to work on a set. Most likely you’ll work long ours (usually a minimum of 12 hours) for a minimum wage (1500-2500 Baht). You probably sit around and wait for many hours. But that is part of what working on a set is like.

After you’ve done some extra jobs you’re ready to work yourself up the ladder. You go to some castings and if you’re lucky you’ll score a featured, support or even a main part. With each step your budget, exposure and the attention you get increases. Maybe you are super talented and lucky. Maybe you score your first main part right away.

It took me 1 year of going to castings to get my first featured part. Another 6 months for my first support part and another 6 months after that for the first main.

All I’m saying is, be patient and hang on. When the time is right, you’ll get the part.

5. Join Workshops

Once you scored some jobs you should start to invest in yourself. Improve yourself, your skills.

Whatever skills you have you should hone them. Thai language skills can get you into Thai films or Thai Soaps (Lakorn’s), acting skills can get you better paid jobs, stunt / martial art skills can get you stunt jobs. If you have the looks you can go into modelling and there are people offering modelling classes as well.

Acting Workshops

Participate in workshops to improve your connections to the Film Industry in ThailandWorkshops to get into the Film Industry in Thailand

Viewpoints Workshop By Stephen Webber From New York’s Siti Company. Organized by Arts On Location

John Marengo

Probably best known English language local acting coach is John Marengo. John offers regular acting classes as well as private tutoring.

I joined one of his classes and I was happy with what I got. It helped me to get a better understanding of myself as an actor.

You can contact John here:

Gymlab Communications
Email: santiamriver@yahoo.com
Mobile: 08-9-934-8195

It is important for you as an actor to join different classes with different teachers to learn new techniques and then choose the ones that work for you.

B-Floor Last Sunday Workshops

B-floor is Thailand’s leading avant-garde theatre troupe. Part of their work involves offering regular workshops on the last Sunday of the month. Every workshop is held by a different coach / actor / instructor and on a different technique. The price is very competitive. I have never been disappointed by joing their workshops. The workshops are always bi-lingual.

You can find info on their workshops on the B-Floor Facebook Group

Arts On Location

Arts on Location was initiated by Adjima Na Pattalung, is an organization dedicated to bringing high level drama instructors from abroad to hold 1-week acting classes in Bangkok. Adjjima organises at least 2 workshops per year and the instructors are hand-picked by herself. Every workshop I have joined has helped me improve my acting skills tremendously. the workshops are always conducted in English.

For updates about the next workshops join the Arts on Location Facebook Page

Theatre Shows and Workshops

If that is not enough I created this Facebook Page “Theatre Shows And Workshops” Don’t be scared, most of the workshops posted there are in Thai.

Stunt Workshops

Ron Smoorenburg

Ron is probably the most experienced stunt man in Thailand. He started his career back in the Netherlands working on a movie with Jackie Chan. Then moved to Hong Kong and finally settled down in Thailand. He offers private classes for those who are serious about their work.

Mobile:  087 709 9844

Email: ronsmoorenburg74@gmail.com

Website: http://www.ron-smoorenburg.com

IMDB: http://www.imdb.com/name/nm0810653

 

6. Create a Reputation

Working on set, whether as extra or in another part, don’t be mistaken, it is a job. People are watching you and how you behave. If you are being asked to be somewhere at a certain time, be there on time.

Every time you are on set is a chance for you to show people that you are willing to work. People on set are watching and will remember the way you work. The industry is much smaller than you may initally think. Everybody knows everybody and people will talk about you and how you behave on set.

You want to create a repuation of a hard worker who is able to perform.

7. Don’t Be An Ass

Although this is basically an addition to Number 6, I think it’s worth mentioning as separate point.

I’ve seen it happening many times. Once on set people start behaving their worst. All the things that momma told you not to do at home are suddenly displayed and laid out on set.

If you behave like an ass on set people will remember and people will talk about you. News will spread and you will see less jobs coming your way – unless your name is Christian Bale, of course.

Until you have reached that level, just don’t be an ass. And even if you reach that level, just don’t.

8. Create A Resume

In any industry it is good to keep track of what you’ve done. The film industry is not different. Here is an example of how your resume can look like: Acting Resume

9. Create An Acting Reel

Although it is much less important than in other countries it is a good idea to create an acting / stunt reel at some point of your career to show people what you are capable of. A reel should not be longer than 3 minutes (preferably less than that 2.30 is the standard) and remember less is more. Rather choose fewer scenes with more intense acting than trying to put all of your work into a short clip.

Here is a sample for an Acting Reel

So those are the first 9 steps to get into the Film Industry in Thailand.

Source: http://actors-thailand.com/2016/03/17/how-to-get-into-the-film-industry-in-thailand/

The 7 Filmmaking Blogs You Should Be Reading

posted May 21, 2017, 4:59 AM by Shayne L. van Vlerken


The 7 Filmmaking Blogs You Should Be Reading & Bookmarking Today!

Posted On October 30, 2014

Second only to on-set experience, filmmaking blogs are arguably the best way to learn the craft of filmmaking and to be inspired creatively. I have personally learned so much over the years online (as I never went to film school), and always recommend to filmmakers at every level that they consume as much information as they can from credible blogs and resources online in order to continually further their knowledge base. For that reason, I’ve gone ahead and made my list of the top 7 filmmaking blogs that you should be following today!

Here we go, in no particular order:

John Brawley

URL: http://www.johnbrawley.wordpress.com

John Brawley is an amazingly accomplished DP based out of Australia, with a list of credits far too large to outline here. As a cinematographer, naturally his blog is oriented towards camera reviews, technical advice, lighting setups and other key topics that provide filmmakers with a wealth of information to learn from. If you are a Blackmagic shooter, you should be paying especially close attention to this site, as Brawley was one of the pioneers of Blackmagic’s Cinema Cameras having utilized them on professional/broadcast level projects very early on.

Vincent Laforet

URL: http://blog.vincentlaforet.com

Vincent Laforet’s personal blog was one of the first highly relevant filmmaking blogs that truly offered readers valuable and insightful information on the film industry. Updates on his site don’t come as frequently as some of the other blogs on this list, but Laforet takes a quality over quantity approach and as such every article that he puts out has a lot of substance to it. He covers a wide range of topics from technical know-how to business advice, and all of it comes from real world experience.

Nofilmschool

URL: http://www.nofilmschool.com

Nofilmschool has become the single best news-oriented filmmaking site out there. With multiple articles added every day, this site (founded by Ryan Koo) provides readers with an exceptionally wide-spectrum of filmmaking material every day. Chances are, if you’re reading this list you are already following Nofilmschool, but if you’re not – be sure to check in daily for updates on camera tech, business advice, visual inspiration, reviews, and much more. Nofilmschool curates content from across the web so they are able to deliver to you some of the best material found online on any given day.

Hurlbut Visuals

URL: http://www.hurlbutvisuals.com/blog/

The ‘Hurl Blog’ was founded by acclaimed cinematographer Shane Hurlbut in 2009, and has since become an incredibly rich camera based blog dedicated to emerging filmmakers. While you might expect that an ASC level cinematographer who has been working at the top of his game for years would only focus on the highest end of the filmmaking spectrum, Shane makes a concerted effort to make his site accessible to filmmakers of all shapes and sizes. His articles will touch on prosumer level cameras (like the 5D), professional gear (such as the Canon C500), lighting techniques, production tips and everything in between.

Premiumbeat

URL: http://www.premiumbeat.com/blog

Premium Beat’s blog (titled ‘The Beat) is an amazing online filmmaking resource that is contributed to monthly by filmmakers, industry pros, and writers. The site covers a wide array of topics, but places a special emphasis on the technical end of production and post-production, while also delivering relevant industry news on a daily basis. Like Nofilmschool, this is a site that you will likely want to visit daily in order to get up to speed on it all!

IndieWIRE

URL: http://www.indiewire.com

Unlike many of the sites on this list which are mainly technically oriented, IndieWIRE provides filmmakers (and fans) with bigger picture industry-centric news, reviews, advice and more. They cover the independent film scene much in the same way that Variety covers the Hollywood scene, and ultimately tap into the heart of what is going on in the independent film world today. They have nearly every corner of the indie-film scene covered and are updating constantly with enough fresh content to keep you coming back daily.

Filmmaker IQ

URL: http://www.filmmakeriq.com

Filmmaker IQ is another great filmmaking site that covers a very wide range of topics. While many blogs focus primarily on camera tech, post-techniques, or industry news, this website covers it all. Recent topics have covered: camera movement, lighting setups, writing advice, and other fun facts (such as the history of popcorn at the movies) – all of which are written by filmmakers. It’s refreshing that Filmmaker IQ covers not only the most current industry related topics, but also historical filmmaking info, allowing for readers to dig deeper into the history of filmmaking as a craft.

Noam Kroll

URL: http://www.noamkroll.com

If you’re not a regular reader of this site – my goal is to provide filmmakers with a well rounded resource for truly independent filmmaking by sharing camera/gear reviews, inspiration, post-production techniques and much more from real world projects. What makes my blog different from many of the other film blogs out there (written primarily by cinematographers or editors) is that I am first and foremost a director, and as such write articles from that point of view. Many directors today are like myself in that they often write, shoot and edit their own work, and this website is dedicated to helping filmmakers of all types gain a vast spectrum of knowledge in each aspect of the craft, so that they can become better storytellers.

There are countless amazing resources online for filmmaking, and I have limited my selection to just a few of the websites and blogs that I wanted to feature here. That said, I would love to continue to update this list as time goes on so feel free to comment below if you have any suggestions for additions to this list.

Also, be sure to subscribe to this site using the form on the right panel of this page for updates on future articles, gear reviews, and much more!

Noam Kroll is an award-winning Los Angeles based filmmaker, and the founder of the boutique production house, Creative Rebellion. His work can be seen at international film festivals, on network television, and in various publications across the globe. Follow Noam on social media using the links below for more content like this!

What’s an Aggregator & Why Do You Need One to Get On iTunes & Beyond?

posted May 21, 2017, 4:18 AM by Shayne L. van Vlerken   [ updated May 21, 2017, 4:52 AM ]



Handling the digital release of your film yourself? The possibilities are exciting — and sometimes overwhelming. How do you get your film on iTunes, Google Play, Hulu, Netflix and other giant platforms where new audiences can see the film? It’s easier than you think, and the bottom line is: get an aggregator.

While in the past filmmakers have decried their dependence on the “middle men” of distribution, in this case, an aggregator can be a great ally. With the growing trend of aggregators towards flat fees and small-to-no profit share, the option is becoming more transparent and affordable for independent filmmakers with hybrid distribution strategies in mind.

If you’re looking into this option for your next film, here is a very quick crash course on what an aggregator does, and where to find out more.

Why do you need an aggregator?
Aggregators are the gatekeepers between you and the big platforms. iTunes, for example, will only accept content from an approved encoding house, many of which are also preferred aggregators. In theory, you can apply to send them content directly from an Apple-approved encoding house. However, most of us wont meet the application requirements — like having 5 feature films that were released theatrically. From iTunes:

Aggregators are experts in delivering content to iTunes. For a fee they can correctly format and deliver your content to Apple’s specifications. The majority of independent movies offered on iTunes is provided by one of our aggregator partners...All content must be encoded and delivered by an Apple-approved encoding house. The encoding house processes the content in the Apple-specific encode that is required for distribution on iTunes.

So why do you want your film to be on one of these platforms, again? The decision of where to put your film online is different for every filmmaker. One answer, however, is that getting on these big platforms gets you more eyeballs. A popular model for DIYers today is to get it two places: 1) your own site and 2) everywhere else you can get on for TVOD streams and downloads.


Quick video on demand vocabulary: “transactional” or TVOD is referring to where users pay a fee to watch your film, like iTunes. This is in contrast to “subscription” or SVOD based models like Netflix where you don't make money off individual views, but are paid a flat licensing fee.

The two-pronged approach above is based on knowing you will keep more of the profits from selling your film directly on your site. You’ll be looking at maybe a 90/10 split if you are using something like VHX to power your streaming/downloading option, and that's where you'll want your fanbase to go to see your film. On a platform like iTunes, the split is generally 70/30 or 60/40 depending on if the transaction is a sale or a rental. (That’s 70% to the filmmaker. Phew.) You're giving up 30% of your share to iTunes, but it's 30% of something you wouldn't have gotten if you weren't on iTunes. And with an aggregator, you can get to iTunes without giving up even more of that revenue to a distributor or sales agent. Here is Erik Andersen, on why he started his Sundance-partnered aggregator Quiver:

It starts with the filmmaker. With an idea for a story that needs to be told. This is the source of all value in the entertainment industry. So, why are they often the ones seeing the smallest reward? I first witnessed this while working at iTunes. Individual filmmakers would call me to beg for help. Their movie had been in the top 50 for six months and they had never received a dime, was there anything I could do? I would learn that their deal with an aggregator or sales agent took 10-50% of revenue and had a clause to cover “expenses” of anywhere from $10,000 – $75,000. Even if those criteria were met, it seemed like filmmakers still weren’t getting paid. I felt powerless. Until I realized that it didn’t have to be this way. I could change it. I quit Apple and set myself on the goal of turning indie film distribution on its head.

So what does an aggregator do?
Generally, you can expect an aggregator to encode your film to the specs of a particular platform, and then deliver it to them. This can include helping you pass QC, packaging your film's assets for CC and subtitles, and putting together all your artwork and metadata according to the required format of each of the platforms/territories. In some cases, an aggregator will put together a pitch, especially for a platform that selectively curates films (like Netflix, Hulu.)
Finally, once people start buying your film on a given platform, that platform will pay your aggregator, and your aggregator will pay you!

How much does it cost?
Fees are usually around $1K for your first feature film platform delivery, and a smaller fee per platform after that. Some aggregators also charge a percentage of your revenues. Revenue share could be worth considering if you are able to lower upfront fees that you don't have the budget for. Otherwise, there are many aggregators now who don't demand revenue shares, so it’s hard to justify forking over 10-15% for no reason.
Additionally, some platforms offer discounts, say for using Compressor. Others can create assets for you that you don’t have, like Closed Captions or Subtitles at a discounted rate. So you’ll need to research the right price points for yourself to find the best aggregator for your film.  

Who are they?
Here is a handful of aggregators to get you started. While this is not a comprehensive list of every company out there, it is based off of US iTunes preferred partners. If iTunes is not high on your priority list, there may be other great aggregators out there for you. (And feel free to recommend those we’ve missed in the comments.) Pricing is included for aggregators who made it available. Feel free to visit each site to find out more specifics!

A simple and affordable way to distribute your movie globally.

From Erik Anderson, Founder:

You don’t have to give up a part of your dream to make it possible for people to see it. Don’t. Don’t sell your years of hard work for a small up front payment and a vague promise that will most likely result in nothing. You made your movie. You had the vision. You should be the one to see it through to the end. You should keep as much of the reward as possible. That’s why I started Quiver.


Flat fee for first platform: $950
Each platform after that: $175
Revenue Share: 0%

Juice distributes film and television content across the major digital download and streaming platforms – worldwide. We have highly coveted “preferred” distribution partner status with iTunes, Google, Amazon and Netflix. Cable/Satellite/Telco VOD services are presently available through Juice (Canada only) and VUBIQUITY (U.S. and International). We’re always expanding our platform reach.

Flat fee for first platform: $945
Each platform after that: $195
Revenue Share: 0%

Walla’s proprietary tools leverage technology to solve common VOD pipeline issues and reduce the costs associated with platform delivery. Our Studio Services dashboard was designed as an end-to-end solution to bring efficiency and accountability to our content partners.

Flat fee for first iTunes territory: $999
Fee for each iTunes Territory after that: $49
Other platforms: $199
Revenue Share: 15%

With over 15 years behind us as a purely digital facility, bitMAX is renowned as one of the world’s largest independent digital supply chain providers. Our storage and delivery platform is responsible for the distribution of thousands of films, TV shows and more music videos than any other company on the planet. bitMAX is the easiest path for global distribution. Our direct relationships with major platforms which include iTunes, Amazon, Google Play, and vevo allow anyone anywhere on any platform, device, or operating system to access your Film, TV Show, Concert or Music Video . Contact us and we'll let you know what you need to do to get your content out to the world.


Flat fee: Film plans start at $500.00; contact for quote.
Revenue share: 0%

Giant Interactive provides digital and physical media preparation and delivery services for Blu-ray, DVD, digital video platforms and OTT services, as well as complete iTunes content aggregation. We’re experts at preparing your content for distribution wherever your audience may be. Our foundation in video makes Giant unique among most full-service digital studios, giving our clients a powerful resource that can enhance any distribution strategy.

Fees: Email sales@giant-interactive.com to find out

We localize, manage and distribute entertainment and media content for the biggest names in the industry. Our revolutionary technology helps us to work smarter and deliver high quality, efficient, cost-effective services.

Fees: Request a quote based on runtime

3 Must-Haves For Your Sample TV Spec Script

posted May 21, 2017, 4:04 AM by Shayne L. van Vlerken


3 Must-Haves For Your Sample TV Spec Script

MAY 12, 2017 BY 

Television staff writers hold some of the most coveted (and highest paid) writing positions in Hollywood. And your first step toward ‘breaking in’ and becoming one of these elite writers begins with crafting a top-notch sample TV spec script.

In articles I’ve written about Feature-Length screenwriting, I’ve constantly remarked how Newbie writers should avoid Comedy and Drama like the plague. However when it comes to writing your Sample TV Spec Script, the exact opposite is true!  Comedy and Drama are the only two genres you should consider and all others (e.g., action, horror) should be completely avoided.

3 Must-Haves For Your Sample TV Spec Script

Must-Have #1: The Right Kind of Genre

If you want to showcase your Comedy writing skills, then you’ll need to focus on the thirty-minute episode format (either for a live-studio audience as seen in Two and Half Men, or the alternative ‘staged’ versions as seen in Louie and Girls.  If you would rather work on the dramatic side, then put your emphasis on the scripted one-hour dramas found on Network TV.

Hop online and get sample scripts from existing programs similar to yours to make sure your formatting is in sync. For example, live-studio sitcom formatting is completely different than traditional script formatting. Also TV generally requires ‘Act’ breaks for commercials.

Want to be creative and blend genres to create a ‘coming-of-age dramedy’?

Don’t do it!

Choose Comedy OR Drama and move on.

Must-Have #2:  A Ready-to-Go Portfolio

You will need a minimum of two (ideally three) sample TV spec scripts before you’re ready to present yourself to Hollywood as a TV writer.  And unlike the old days, these sample scripts should not be from existing series. You need to ‘invent’ two fully fleshed out TV series (and write one script for each).  You don’t have to write a Series Bible unless it helps you, but you might want to consider outlining 3-4 additional episodes for each series to give a sample of what a full season might look like.

You should NOT try to ‘showcase your skills’ by writing one sitcom-comedy and one hour-long drama… As a writer you must choose either Comedy OR Drama and invent two unique series from the same genre.

Won’t you get a reputation as only being a ‘comedy’ writer or ‘dramatic’ writer? 

YES!

And having that reputation is a good thing.  In TV, executives and showrunners are thinking long-running seasons with multiple episodes… Being able to remain consistent with genre type and tone will really showcase this as a strength for your writing skills.

Must-Have #3:  Proof of ‘Episodic Output’

When choosing your series ‘ideas’ don’t get too wrapped up in the beginning, middle and end story mentality. You will first need to create an overarching ‘concept’ that has the ongoing ability to generate endless story possibilities.  To do this, keep your ideas big and open-ended. For example, think Breaking Bad’s big & open concept of a cancer patient cooking and dealing meth to pay his medical bills. It is not a plotline you’re after here, but rather a ‘filter’ to keep ideas on track while offering countless ways to mishmash conflicting characters and episodic plotlines together.

Second, when it comes to your sample TV spec script, focus on fully-realized 3-dimensional characters; pay careful attention to ensure your characters are able to both augment and conflict with one another simultaneously.  Remember, its characters that drive long-running TV series; by taking these fleshed out characters and placing them into your big & open ‘concept’ filter, you will have a series capable of season-after-season of strong episodic output.

From here, you can begin pulling individual ‘segments’ from either the overarching ‘concept’ or from the individual lives of your fleshed out characters and build episodes around them—this allows each episode to have its own unique beginning, middle and end without altering the strength or direction of the entire series.

As I explain in my book, Writing for the Green Light, this ability to continually create fresh ideas from pre-existing frameworks is absolutely crucial in the landscape of TV writing (writers are constantly forced into creating new and unique ‘episodes’ for seemingly exhausted programs that have been on the air for several years).  If your Sample TV Spec Scripts can showcase this ability, your work will stand head and shoulders above the competition and get taken seriously by Agents, Executives and Key Decision-Makers.

Three Steps For Netflix Distribution

posted May 21, 2017, 3:57 AM by Shayne L. van Vlerken   [ updated May 21, 2017, 3:58 AM ]


Three Steps For Netflix Distribution (For Indie Filmmakers)

MAY 12, 2017 BY 



In truth, unless your film project has major notoriety (because it played at a top tier film festival or has ginormous buzz) Netflix prefers that you utilize an established distributor or aggregator. But there is hope…

Three Steps For Netflix Distribution

Netflix is as a premium subscription channel similar HBO or Showtime. They pay a licensing fee for content they are interested in. And for these reasons, most Netflix distribution deals are negotiated by a distributor or aggregator. With all of this said, here are some steps to get you started.

Step 1 – Refine Your Pitch For Netflix

Because nearly every filmmaker dreams of getting a Netflix deal, there is an abundant supply of content. This means you will have to find some creative ways to make your film rise above the noise and get noticed. So before you reach out to a distributor or an aggregator, you need to clearly demonstrate “what’s in it for Netflix.”

Here are some questions to help refine your pitch:

  1. Do you have any “names” or “influencers” in your film?
  2. Does your film focus on a popular subject?
  3. Does your film have a strong social media following or press?

Step 2 – Find An Aggregator or Distributor

Once you have a strong pitch that showcases the value of your film, your next step is to partner with a distributor or aggregator capable of making the pitch. These entities will first evaluate your film to determine if your film (and your pitch) has a good shot at getting picked up.

Step 3 – Get A Response

If your film gets pitched to Netflix, it will take a few weeks to get a response. If Netflix is interested, they will negotiate directly with your distributor or aggregator. If accepted, your distributor will work with various vendors and encoding houses to deliver your film. You will need to provide your distributor or aggregator with all the necessary video files and artwork.

(Note: If Netflix chooses to license worldwide rights, you will need to deliver subtitles and localized artwork for each territory.)

If Netflix is passes on your film, you usually won’t get a lot of feedback. Do not take this personally. Perhaps Netflix picked up a similar film last week. Or perhaps the acquisition team is focused on other genres.

While we are on the subject of subscription video on demand (SVOD), it may behoove you to check out Amazon Prime. The service is similar to Netflix in the sense that subscribers can view anything in the Prime ecosystem. But unlike Netflix, Prime does not pay licensing fee. You are actually paid based on hours viewed.

If you would like to learn more about film distribution, check out my guide to VOD distribution. It just might help.


127 Facts You Probably Didn’t Know About The Video Marketing

posted May 5, 2017, 8:05 AM by Shayne L. van Vlerken   [ updated May 5, 2017, 8:11 AM ]

Even if you have been in the video centric digital marketing industry as long as we have, there will still be a few things about video marketing that slips by.  For many, there are hundreds of facts..actually, 127 fact, that they did not know about video marketing.

Every business needs a digital marketing strategy focused on using videos.  A
 Digital Marketing Roadmap helps marketers stay focused.

Our friends at 
WebSiteBuilder.org.uk created this wonderful infographic that nails down 127 facts pertaining to Video Marketing.  CLICK on the image to see the InfoGraphic!!


127 Facts You Probably Didn’t Know About The Video Marketing

Source:
Thanks Megan.
Megan Arevalo
Social Media Manager | CRO Geek  | Portland's Coolest Mom

Film Lighting Wiki Manual

posted May 2, 2017, 7:45 AM by Shayne L. van Vlerken

Lighting Conventions

Broadcast, Video, and Film Productions share common lighting conventions. Due to the fact that most lighting tools were originally developed for film, with a few tools introduced for video, the equipment carries ratings and specifications are standardized for film. All the lighting tools found in a decently equipped video production studio have direct relatives (usually just larger, brighter and more expensive) in a film production studio.

Electricity

Every lighting fixture uses electricity. How much it requires and in what form varies on the application of the light(s). The electrical description consists of Voltage, Amperage, and Wattage. Commonly, studio lights use 115± (plus or minus) 5 Volts (V) or "225±5 V". The amperages (amperes or amps) and wattages (Watts or W) vary depending on the fixture, bulb type, and light output. 115V lights range from 10W (LEDs) up to 2000W-2500W (Halogen-Quartz), 225V range also from 10W to 4500W-5000W.

Terminology

Bulbs
Refers to the actual light source. Most bulbs consist of a filament, insulating gas, and a glass encasement. Also known as "lamps," or "globes."
Fixtures
The cases or enclosures that hold a bulb, and often serve the purpose of directing the light. Fixtures range from simple bulb holders (such as clamp lights), to elaborate mechanisms (such as Source Four). Also known as "heads," or "instruments."
Mounts
A device that holds the light where you want it to be. Some clamp to overhead lighting grids, while others are stands.
Power (AC)
The power source or the power supply. Where the light is getting its electricity.

Lighting equipment

Lighting kit just after it's been loaded off the van. More production stills here.

Lighting equipment consists of a great deal more than just sockets with bulbs. Lighting equipment (briefly) consists of bulbs (usually called 'lamps'), fixtures, dimmers/power units, mounts, light control/quality.

Redheads

Redheads are a specific type of open-faced light made by Ianiro. They usually offer tungsten 1000W. They are also known as Mickey-Moles (when made by Mole-Richardson). The term Redhead comes from the reddish color of the original fiber casing and is often used to loosely describe smaller, open-faced lights.

Blondes

Blondes are a 2k open-faced light. Because they are open-faced, they tend to put out more light than a 2k Fresnel.

Bulb Types

Video/Film recording lights use many different bulb types. Some are standards from Edison (tungsten) but others are cutting edge of the 2000s (LED). Most bulb types use a filament-ignition process to produce light. A wire of some electrically excitable material is put under voltage in an oxygen-depleted environment, causing it to 'burn' without lighting afire. Fluorescent bulbs and LEDs function rather differently from filament bulbs.

Tungsten

A tungsten light is basically a more powerful version of a common household light bulb. While a household light bulb may only take a few hundred watts at most, lights that are used to light film sets are easily 1000 watts (1K) and often over 20,000 watts (20K). The tungsten light bulb naturally produces an orange hue, similar to indoor lights. Tungsten lights have a color temperature ranging from 3200 to 3400 Kelvin. One typically uses a CTB (''color temperature blue'') filter to balance the color temperature with outdoor or HMI light.

Halogen-Quartz

Halogen-Quartz bulbs, often known as "Halogens" or "Quartz" are a staple of lighting. Halogens rarely posses a color temperature outside of 3200°K. These same bulbs are often used in car headlights, portable work-lights, and recently in house-decor lighting. The bulbs come in wattages ranging from 15W-3500W. Additionally they are manufactured in a wide range of enclosures, bases, and connectors. Common are the "T", and bayonet base. Halogens emit significant amounts of heat during operation, so much so that oils on the glass surface of the bulb case lead to uneven heat distribution and rupturing (through thermal shock to the glass) or heat build-up and exploding gas within the bulb.

HMI

An HMI light is used very often to light film sets. One requires a ballast in order to power and creates a loud noise when turning on, so it is set protocol to yell "striking" in order to warn others on set to both ignore the noise and avoid looking at the light. The HMI light is a different type of light bulb than the more common tungsten. An HMI emits ultra-violet lights and emits a blue hue. HMI lights produce a color temperature around 5600 Kelvin. One typically use a CTO (''color temperature orange'') filter to balance the color temperature with indoor or tungsten light.

Fluorescent

Fluorescent bulbs were not used for lighting film and video until recently. This was because of problems with flicker and a tendency to emit more of a greenish hue. The Fluorescent lights used in film now are made to be flicker-free and come in both daylight and tungsten balanced bulbs. "Kino-flo" is one of the major companies involved in making fluorescent bulbs and fixtures for film and video production. Fluorescent lights tend to be very soft, but do not put out much light in comparison to other lighting instruments.

LED

Until the last five to ten years Light Emitting Diodes (LEDs) have seen little implementation. Recent advances in production costs and chemical advances used in the diode junctions have led to inexpensive LED 'bulbs' as well as even color temperatures in multiple bulbs. LEDs are manufactured in all colors, and white comes in many color temperatures; 3200K being the most common, but ranging from 3000K to 5600K+. Diodes, due to their engineered design tend to have a very directional light. The front lens is parabolic, focusing the light to a small dot even several meters away.

Light Control, Quality, and Appearance

Lighting Shape/Area

There are a number of tools used to control where light falls. Often these are used to prevent light falling where it is not needed. In other circumstances a pattern created by the light is desired.

Barn Doors

Perhaps the most common form of lighting area shaping, barn doors are found around the front outside of the fixture. Most commonly there are four barn doors forming a square around the fixture, but the numbers vary for specialty applications.

Basically, barn doors block the light from hitting an area of the set or frame you don't want them to. They swing towards and away from the fixture opening.

Gobos

Gobos shape the light. Many gobos appear to be shapes cut in a cookie sheet (and indeed many are) but they consist of a material able to withstand the heat put out by the fixture, with shapes cut out for the light to travel through.

Think of gobos as jack o' lanterns.

Flags & Cutters

A flag or cutter can be any item that blocks light. A standard flag on set can be of varying sizes. The standard flag is attached to a small metal handle and short rod that can be attached to a C-Stand and placed so that it blocks the light from hitting something in the shot. Flags can be used to prevent light from hitting background walls, for example, leaving only the central subject/s in the light.

Types of flags include singles & doubles to cut down hard light. Solids to block light. Silks, though similar, are translucent and used to diffuse, rather than block light.

Blackwrap

Blackwrap is essentially aluminum foil, but covered in black paint. It is often used to block light and kill any spill from a light. Blackwrap can be shaped however you like to affect where the light falls. It is useful in narrowing larger lights to point lights or spots or making lights non-circular. It is very inexpensive, light weight and more flexible than barn doors. However, it will burn on too hot a light, so watch for smoke. Blackwrap(TM) is a product from the company, Gam Products Inc. A similar product, CineFoil(TM) is made by Rosco Laboratories Inc.

Lighting Intensity

Focus

Adjusting the focus on a focusable light changes the distance between the actual bulb and a lens at the end of the light. This affects how diffuse the light is. Closer to the lens spreads the light out more, whereas farther back makes it closer to a spot. Try to do this before the light gets too hot, so you can adjust it without burning yourself.

Neutral Density Filters

Neutral density filters are a variety of gel (or camera filter) which reduces all colors of light equally, making a light less intense without altering its color. This can be added on top of color gels or used on its own to make a light less intense.

Lighting Quality

Gels

Gels are thin and translucent. They come in rolls that can be cut into a more manageable size when needed. While a gel can be any color, there are two main colors which are referred to as Color Temperature Orange (CTO) and Color Temperature Blue (CTB). These two types of gel are respectively orange and blue, with varying degrees of darkness broken up into 1/8, 1/4, 1/2, and Full. Full is the darkest and 1/8 is the lightest. When asking for a gel, one may say "I'd like a quarter CTO put on this light."

Gels are attached to a light in order to alter their color temperature. Tungsten lights produce an orange hue, while HMI's produce a blue hue. If filming outside with tungsten lights, gels would be needed to match the color temperature of the daylight if the DP wanted all the light to be the same color temperature. Daylight produces a blue hue like an HMI light, so CTB would be needed to be placed on all the tungsten lights. Gels are attached to lights with clothespins, also called "C-47's."

Besides CTO and CTB, to work with fluorescent lights or a "kino flo", there are "plus green" and "minus green" gels. Since fluorescent lights produce a green hue, a minus green gel would remove the green hue from a fluorescent light and a plus green gel would help match a non-fluorescent light to a fluorescent.

Attaching

Some lights have clips for attaching gels, but the most common method of attaching them is via wooden clothespins (also referred to as C47s, pegs, or bullets). These clothespins will begin to smoke before the gels, so you can prevent your gels from being ruined, and they also don't conduct heat, so they can be manipulated even on a very hot light. They can also be reversed to give them a longer mouth, allowing you to use them to pull scrims from hot fixtures. Once reversed, they often go by C-74's or "scrim pullers".

General Lighting

Here is the nitty-gritty of the page. Although different formats have varying needs in both quantity and quality of light, the underlying yet critical concepts of lighting are fairly applicable to any medium.

Lighting Digital Video

Dynamic range. There are many differences between DV and film, but one that particularily stands out regarding lighting is dynamic range.

Most DV and video cameras have a relatively low dynamic range. (I.ex. the Sony PD150 has about 4-5 stops, and Kodak's 50D film has up to 11). This means the range between the completely black and the whitest white is very low. One therefore has to keep this in mind while lighting. This has been an integral part of cinematography since the beginning. Controlling so one can see details in the darkest area of an image, and also in the brightest. One can always adjust the contrast in post (Colorgrading). This style of working is called shooting for post. (The DV standard has an ok light intensity resolution, so adjusting contrast in post is not as difficult as adjusting color.)

White balance. As the DV standard has a low color-resolution, it is important to control and know how to filter and white balance the image on set. It has been proved difficult to adjust color in post with a good result, although it has been done. Regarding lighting, be aware of the possibilities the white balance setting on the camera have, and use gels on the lamps, and sometimes on windows to create a neutral image.

In return for these shortcomings, DV-cameras can be more light-sensitive than most film stocks, and therefore require less light intensity, to give the same image. (PD150 is about 320ASA versus Kodak's 50D's 50ASA. One would need about 8 times more light, to get the same image at the same F-stop). Although high ASA film is available.

You just do what you have to do.

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