As indie film producers, it's wise to watch trends in media consumption.
Facebook IQ has a huge amount of data analysis to dig into. They have a great recurring article called "Topics to Watch" that helps me keep track of what's trending objectively.
In the October 2018 version, something particular caught my eye.
Inspirational fiction is exploding in popularity. There's lots of possible reasons for this, but the data is there regardless.
That is a huge growth spike, with older audiences again leading the way.
Maybe it is an antidote to increasingly divisive media coverage, more people are looking to creative outlets.
Either way, it's an interesting trend. I am paying closer attention to inspirational fiction on a genre of content and actively looking for opportunities.
Google Trends doesn't seem to agree. This is specifically "inspirational" and related terms in YouTube over the last five years.
While not a perfect comparison, it could be telling that the content trends on Facebook vary greatly from YouTube.
What are your thoughts on this data? Do you use trend data to help decide which projects to work on or just go with your gut?
This episode we speak with Liz Deering and Ben Gibson, co-founders of the Un.Inc in Austin Texas.
Welcome to the first episode of the Movies in the Black Show. We will be interviewing creators about making a living in their fields. Movies are the main subject. We also will interview other creative fields as we believe there is a lot to learn from other industries.
Un.Inc Website: http://theuninc.com/
From The Un.Inc:
WE BELIEVE THAT THE FUTURE OF SOCIAL IMPACT LIES IN THE HANDS OF DIVERSE AND CREATIVE FOUNDERS - THE REBELS, MISFITS, ARTISTS, CREATORS AND DREAMERS WITH THE HEART AND TENACITY TO LITERALLY CHANGE THE WORLD.
At The Un.Inc we are designing an unconventional path for change makers to grow, thrive and claim their purpose. We do that by surrounding them with the resources they need, from products, programs and mentorship to creative spaces and housing.
For over a year now, I’ve been struggling to follow up an earlier story I submitted to the Filmmaker’s Process. That post was written shortly after production when we were kicking off our crowdfunding campaign. The response from all of you in the filmmaking community was great, but in many ways things trailed off downhill after that.
I only want to send positivity out into the world. That is basically my core mantra. So… when all I could report on was perceived failures, I wasn’t able to frame it in a way that was honest and also positive.
In complete honesty, I dove into a pretty deep depression after making our movie. Blood on the Leaves was incredibly satisfying to make and we were really proud of the end product… but our distribution plan just stalled out and it felt like nobody was ever going to see the movie.
Our distribution plan just stalled out and it felt like nobody was ever going to see the movie.
This article is going to go through everything that happened since post-production without getting to granular. Up front, I want you to know there is a happy ending; that’s why I’m finally writing this, because I can end on a positive note.
If you haven’t already, please go read our first article about Blood on the Leaves for some context.
Post Production Nightmare
As a producer, organization is everything to me.
One of the biggest rushes I’ve ever experienced was managing the schedule on set of our two week mad-dash to film Blood on the Leaves.
Just like planning for production, you should really have an extremely tediously planned post production if you want things to run efficiently.
This post originally appeared as a Filmmaker Story on Filmmaker Freedom submitted by Craig Inzana.
I’m a filmmaker from a small market in rural Pennsylvania. DuBois, PA to be exact. Here, micro-budget filmmaking is essential if you want to make movies at all. After a few years of producing short films and a web series for under $1,000, I finally was able to work on something where we could pay people. The difference was amazing!
In 2016, we produced a feature film for $10,000 in twelve consecutive days in the middle of the Pennsylvania woods.
That film is called Blood on the Leaves; not only did we do the crazy thing of trying to make an intense survival drama with a budget and schedule like that, we made the crazy decision that we needed to pay people.
I’m going to preface all of this by saying, every film project is different and your film might not need to pay people in order to get what you want out of it. Also, not everyone on our film got paid. If it weren’t for the immense amount of work myself and the two other producers put in on and off set for free, there’s no way this film would be happening.
When we released Blood on the Leaves, we intentionally skipped the festival route.
This was a big mistake.
Even if you're planning to distribute your film independently, you should still aim for film festivals.
Also, consider distribution offers. If you are remotely business-savvy, you will be able to negotiate a moderately good deal out of a distributor that you may not be able to achieve on your own. Remember that rights can be sold in pieces. So having an international theatrical distributor (yeah-right) would cover something you're unlikely to achieve on your own.
Getting a Strategic View of Distribution Options
After years of watching the indie market and distributing a few projects of my own, I've come up with a pattern that works best to maximize potential profits from a film.
At the end of the day, if your movie is not interesting to audiences, it won't make money.
Following this roadmap, however, could be the difference between $2,000 in returns and $200,000.
Hi. I’m Craig and I have a film degree.
It feels a little dirty to say. With so many resources online and the ability to get your hands on a video recording device for the price of a videogame, the value of paying for film school has diminished drastically.
I do still think there is value in film school. Networking, focusing solely your craft for two to six years, and being forced to work on deadlines are just a few of the benefits you’d have trouble finding without it. (Here's a guide on how to do all that on your own)
Even though I think film SCHOOL has value, I’m not convinced that a film DEGREE does. I would argue that getting a degree in creative writing, psychology, financing, business management, or marketing would be a MUCH better use of your time and money. Those degrees would all help you achieve the same filmmaking goals-- maybe even moreso.
Here is a list of successful filmmakers who never got a film degree:
This post originally appeared on Sideline Pictures' Blog written by Craig Inzana.
Many great filmmakers never went to film school. In part because there was much less competition.
The reason there is so much more competition these days is because resources are so widely available. This is EXACTLY why you don't need to go to film school.
Some concentrations lend themselves better to formal schooling (like cinematography, sound, editing), but even those might be better off mentoring under a professional.
Here are five steps you can take to educate yourself and start a filmmaking career without spending tens of thousands of dollars:
This post originally appeared on Sideline Pictures' Blog.
We review our earnings and reach after one year of using Amazon Video Direct. We were very satisfied with the platform as an alternative to YouTube for free distribution... then in August of 2017 we were hit with a big surprise that made the experience even more amazing.