YouTube for Filmmakers

I’m on YouTube, Now what?

There’s certainly a resistance for some filmmakers to get on YouTube.  After all, there is no barrier to entry – which means that everyone who has a kid, pet, or the ability to rant while drunk can, and does, post videos.  There is certainly plenty of, er, coal – but there are also plenty of gems.  And the cream can certainly rise to the top, with some promotion.

75% of the total U.S. Internet audience watches online video. YouTube is the most of the video sites and since it hosts videos, allows you embed them from there into your blog (website etc.) and broadcast them to the world, you’d certainly be missing a key opportunity by not using it.  Oh & it’s free.  (Did’ja hear what I said? FREE!)

So once you get on it what can you do?

Well, aside from posting your complete (short) film, you could post

• your trailer
• outtakes (if they’re funny or interesting)
• interviews (if they are intriguing, not self-indulgent.  I can’t stress this enough).
• Videos specifically made to supplement advertise your film. (Make it clever. It doesn’t have to be high-tech. high budget at all – but it does have to be intriguing.)
• a “video response” to a video that relates to your film (e.g. your film is about an embarrassing date, so record a quick video response with a funny date story to another video that discusses embarrassing moments or dates.) If it’s only subtly self-promotional this could work (Attach to a fairly popular video for maximum effect and remember that it has to be super-relevant to the original video, or it just looks tacky.)
• A short video showcasing one of the actor’s talents (no, nudity doesn’t count.  Wait, actually, it does…)

Remember:

• Don’t innundate your “channel”  with every video you’ve ever made about everything.  Keep in mind that too much choice is sometimes a deterrent to making any choice! (Behavioral Economists like Barry Schwartz note that people will sometimes not make any choice at all, rather than risk a poor decision).
• Take ownership of your “channel”.
  • It’s about more than just deciding what color to make it.  (Please no pink, unless your brand is super-girly.  In fact, even then, please no. It hurts me where I am soft like woman.)
  • Make sure you control the “feature” clip.  The default is that YouTube features your most recent clip, which might be fine in some cases.  But you should try to feature a strong clip (you can select your favorite).  recent, depending on your promotion tactic) and (“Go to “My Account ▼” And “Channel Design”)
  • Pick your own “favorite 9” of your videos so your channel showcases the best, right off the bat.  (Go to “My Account ▼” And “Organize Videos”)

Other basics tips:

• Always tag (keywords) your video with appropriate keywords & title it in a interesting but clear way
• As per my previous post, remember to simultaneously post (try TubeMogel) and be active on other video sites as well.
• Don’t just broadcast – communicate.  Use the network like any other social tool – be part of the community. Watch and comment on other films and make friends and connections.  Be genuine, and go low on the tacky.  Respect others (I can’t stress this enough).

“YouTube for Filmmakers” by Monica Hamburg

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Want more articles about artists? I have a whole series here.
https://monicahamburg.wordpress.com/category/artist-series/

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More Is Not Necessarily More

I should mention (because I’m not certain if I ever have) that any of my posts assume you are promoting something worthwhile.

My job search post assumes you are an excellent candidate and simply need tools to showcase yourself online.  The artist series makes the same assumption – that you have an interesting project to promote.

After all, if what you are putting forth is lame (and yes, of course, that’s subjective), you might get some initial hits on your video simply by using tricks (or tips), but it won’t last.   Just like film trailers that trick you into seeing a horror film when it’s a comedy – you might get people in seats for opening weekend, but then you’re toast.  Online not only might people stop viewing your video – it is very easy for the “swarm” to also turn on you.

It’s also worthwhile to assess your network in terms of strength, rather than by number.  For instance, on Twitter I often see people talking about wanting to get thousands of followers (“I want to get 22,000 followers STAT!”).  Simply put: lame and counterproductive.

First of all, you could have 2 million people following you, but if they are not active, interested followers there’s no point.  You are best off cultivating strong, worthwhile connections – people interested in similar things –  and developing good relationships.  The more people paying attention  the better – but you should aim at people who want to pay attention to you.  And keep in mind that more people does not translate into more attention.  It frequently amounts to more noise.

Similarly, if you have nothing interesting to say, it doesn’t matter that you have a huge number of followers.  I am always baffled that the people who seem to be trying to get more followers usually tweet things like “Making PB&J sandwich.”, “At computer now”, “Time to sleep, lol!”

As with cat blogs, the only people paying attention to these kind of things are your close friends (and maybe not even them).

It’s not about numbers, it’s about engagement.

“More Is Not Necessarily More” by Monica Hamburg

Film Publicity 2.0 – Part 1

While the internet has not yet established itself as an ideal way for filmmakers to make money for film, there is certainly the possibility (and the hope) that it will move in that direction.   There are, of course, filmmakers – like MdotStrange – who have used their skilled online marketing to sell their work.  As it stands, it has mostly become an excellent platform for filmmakers to establish themselves, showcase their projects, build their audience and fan base – and publicize their films.

This is the first in a number of posts on this topic – and basically a way to get some of the material I’ve been looking at into a more “talkable” format so that I can sound knowledgeable at the panel discussion on Wednesday.

There are advantages to using online channels:

“I’m very confident about digital media’s ability to support individual creators, doing the kind of work they want to do, often on tightly-constrained budgets. (Constraints = inventiveness, right?)  I’m less confident that it will support the same gargantuan, diversified companies that raked in the big bucks in the days when there were only four TV networks, six movies released every weekend, a dozen important records issued on Tuesday.” Scott Kirsner – “Big vs. Small: Who’s Better Positioned Right Now? ”

“‘Filmmakers need to get past the romance of a theatrical release’, says Cinetic Media’s John Sloss. ‘People are so disproportionately preoccupied with getting their movies released in theaters that they’re not interested in alternatives. You make more money and get more exposure and promotion on HBO.’  Sloss says Verizon and AT&T are starting to offer $100,000 for 60-day mobile phone exclusives on indie films. ‘Netflix, Withoutabox and everybody else are trying to build a community. In the future, it will be about loyalty and community.’ – Variety “Frustrated indies seek web distrib’n ”

“The majority of traditional filmmakers generally can’t wrap their heads around “cross platform” storytelling, just getting a film made is hard enough. But, there are early-adopter filmmakers who understand that grabbing eyeballs and generating Users and Social Users online is going to set them apart from those who have to ‘buy’ advertising.

“Online dollars is not the current model, but, just like a Domestic Theatrical Release that increases value in overseas markets, those who can point to “webisodes” that receive high traffic etc. will garner more “traditional distribution” dollars in their sales cycles (particularly, if they have Geographic IP data on those eyeballs and can show how there’s already an existing fanbase in certain countries).  A few of us have been at this for nearly 10 years, using the web as a vehicle to support our traditional projects – it works. And, it does expand our “story telling” options, which is what really makes it satisfying.” – a comment from “MikeD” on “Independent Filmmakers – Web Doesn’t Cut It“

“[Eric] Wilkinson and “The Man From Earth ” stirred up a buzz on the Internet last year when, a few days before its release, a bootleg copy was posted, and then shared, online. The bootlegged film found an enthusiastic audience who posted hundreds of comments and reviews about it. Within two weeks, the film went from number 11,235 on the IMDb “MOVIEmeter”, to number 6. Additionally, the film’s website had gotten over a million hits, and tens of thousands of unique page views. Wilkinson’s response was unexpected, but turned out to be a strategic home run. He embraced the fans of the film and thanked them for their support. Ultimately Wal-Mart, Best Buy, Circuit City, Virgin Megastore, FYE, J & R, and Amazon began either stocking the DVD or renting it as a download.” – Filmmakers and Animators At FilmColumbia

Publicizing

• Link in your email signature to a particular promotional or blog post (you can change these frequently if you like). I have a reminder set to update my email signature weekly with a link for to my new blog post, video or whatever else I’d like to promote. This is not new school – but it’s pretty effective.  Most of my friends, if they received an email blast would see something like “Watch my new video on Youtube” and have the best intentions, but wouldn’t likely get around to watching it. A link at the bottom of an email with an intriguing title is less pressure.  Plus, while it requires very little effort on your part, it’s a great, subtle way to promote yourself with every email you send (think of all the people you email in a month!).
• Is there a hook? Do you have a “famous” celebrity, webrity, singer, etc. in your film.  Whatever, you know how to put the spin. (I once saw Pits in a local screening series (Celluloid Social Club ). It was cute film billed as “starring Alan Cummings”. Alan Cummings appeared for probably a minute of this 8 minute film.  I’m certain this film was buoyed by this selling point, but do wish they hadn’t used the word “starring” (perhaps “featuring?”)
• Keep people posted.  A blog is essential for longer form, but the day-to-day or minuae to minuta can be communicated via Twitter.  Add yourself to what you write, but be sure to include things like: “Meeting with Editor for final cut, hoping to have film live next week!!!”
• Make it interesting, intriguing (and of course, honest). If you tweet about your film (and you should), “Hey, check out the preview of our film” might be interesting to your friends, but something like “A sneak preview of our trailer” is more exciting to others. Also, the community is good at providing feedback, so you can say “Let me know what you think” – if you really mean it.

Fans

Fans want to be part of the process and there are great ways to have them be a part of your project.  Not only can fans help boost your film, but connecting with them online and maintaining that contact can be very educational and supportive – and a great way to establish relationships with people like you and/or who like your work.  It’s also immensely satisfying to see a response to your work online, a direct contact that traditional media doesn’t allow.

• Think about the ways in which your film or elements of your film can be interactive.
• You can gage elements.  What works, what doesn’t.  People online can be very vocal and opinionated – which, can sometimes be a bonus.
• Consider allowing people to submit posters for your film, or music – or remix something create a music video .  Contests can be fine as long as they are about incorporating your fans in the project.
• Having a blog and a dialogue with fans through social networks also allows you to identify who your fans and supporters are – which can be invaluable.
• Beyond that – make sure to be very responsive to your audience.  Respond as much as possible to email messages, blog comments, twitter messages.  While this can all be time consuming, you are creating a connection with people who are interested in your work that can be invaluable.
• Read: Kevin Kelly’s “1,000 True Fans“

A very enlightening podcast: “Get your fans involved From The Workbook Project“: “TCIBR podcast: A discussion about Fandom with Sharon Ross suggests many, many more ways in to work with fans.

Financing

Consider – Crowdfunding.  Getting people to find your film? Sounds crazy? Well, sure if you’re looking to make a $10 million film, but do you really need that kind of money to tell your story? If not there are plenty of microfunding options available.

The key here, I think, is to establish a network of people who are interested in what you produce, and make them feel like they are part of the equation (because, especially in a situation like this – they certainly are).  (And of course, ask for help, don’t harass.)
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I work with DreamBank (through Capulet ) where people post their dreams and ask their friends for contributions.  I’ve always thought it would be a great way for filmmakers to raise money for a short film – especially if they have a large/strong online network/fans.

Another option is to place a widget like Chipin on your blog which allows you to collect funds directly on your site.

You can also raise money on sites like “IndieGoGo.com”  (e.g. “Hacker Ethic ” – described on the Film Panel Notetaker)

Consider this example:

“To raise the $75,000 she needed for an album, she [Jill Sobule] set up a Web site — jillsnextrecord.com — in which her fans would serve as patrons for her next record in return for various rewards.   Ten bucks earned them a digital download of the record, $50 an advance copy and a thank you in the liner notes, while $1,000 got them a personalized theme song written by the artist. Three people who paid $5,000 had Ms. Sobule play at their house. The person who gave $10,000 sang on the record.” – David Carr “Big Music vs. Fans and Artists “, New York Times (Hat tip to Scott Kirsner of Cinematech – I found this article on a post of his)

This is a similar module to Sellaband.com – except the artists controls it all.  There is no real difference between financing an album and financing a film (or some aspect therein). For instance, instead of staging a music performance at a house, a comedy film can likewise arrange for their cast to do live-improve at a party or a short live performance.

Other tips: “Filmmaker Conference – Turning Your Viewers “On” – September 17, 2007″

Crowdsourcing

As fans become more a part of projects, some innovative filmmakers‘ are taking into to the next level by incorporating Crowdsourcing into their plans.  This panel from “the Workbook Project” and From Here to Awesome  addresses this topic.  Discussion Leader: Lance Weiler – Panelists: Slava Rubin (indieGoGo), Skot Leach (Lost Zombie), Jason Harris (Mekanism), Bryan Kennedy (Mobmov.org), Blair Erickson (Millions of Us)

Distribution

Again, you don’t need to distribute your entire film – consider putting up short clips or things that the audience can play with, remix, annotated etc.

While YouTube is the most popular site for viewing videos, other sites (Such as Blip.tv and Viddler) are appealing to different audiences. However, it’s time-consuming to upload individually to all these sites. Apparently, TubeMogel solves that problem: “TubeMogul is a free service that provides a single point for deploying uploads to the top video sharing sites, and powerful analytics on who, what, and how videos are being viewed.” So you’re able to distrube your videos easily – and get numbers [for…].

MeDeploy also seems interesting and will soon be going into Round 2 of beta.

Read:

“Download This: The Future of Distribution is Just a Click Away”

“INTERVIEW: The Future of the Internet Video Business, with Fred Seibert”

“IFP – Alternative Models of Distribution – March 14, 2008”

Further Information and Resources

Awesome Internet and Film Sites & Blogs

The Workbook Project

From Here to Awesome
Cinematech

The Film Panel Notetaker
4 x 2009 – a d.i.y. film blog

http://www.filmmakermagazine.com/

General

“What filmmakers really think of the web” (EPIC-FU for 2/28/2008 – special)

Scott Kirsner is interviewed on technology and film – and how the film industry often resists new innovation.

“12 reasons filmmakers should be using social media – Fans of Film Blog”

“Community Voice and Social Networking”

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Want more articles about artists? I have a whole series here.
https://monicahamburg.wordpress.com/category/artist-series/

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Please feel free to contribute other resources, projects etc. below

“Film Publicity 2.0 – Part 1″ by Monica Hamburg

Tips from the Artists

This is part of my “Artists Using Social Media” series. (For more information, see the intro post).

For the question  & answer posts (of which there are quite a few), I have narrowed the responses down quite a bit.  While most responses were excellent, I filtered down to the (objectively) best ones, to avoid a long, repetitive post.

Question:

What kind of tips do you have for using social media to promote yourself/projects?

Responses:

On How to Be & Behave:

Allison Hagendorf, media personality, writer, producer, foodie, fitness enthusiast : “I view social media as an extension of who I am and what I am trying to achieve.  It is a way of life.”

Photo Credit: Nep (Travis Smith)

Amber Jean, artist, writer, performer: “Mix the personal and the promotional.  Social media is first about relationships.  I like to think of it as “scooby snacks”…just enough bits from personal and professional life to keep an audience intrigued.”

Kim Cameron, Musician “Side FX Band“: Stay true and stay on top of it.  Make sure you are as interesting on a screen as you are in person.  No one should be surprised when they meet you in real life.

Hunter Weeks, Filmmaker + Photographer:”You must truly become active in the social media apps. Just throwing stuff up on various sites and abandoning your profiles doesn’t work.” (1)

Scilla Andreen, Filmmaker + CEO & Co-Founder IndieFlix.com:  “Honesty and don’t try to sell anything. Ask for advice and say ‘Thank You’.”

Adrian Ellis, Musician, Composer/Producer: “Be yourself, be interesting, be honest. Don’t sell, offer things – information, ideas, product. Think about the feeling you want people to have about you and write to that. Imagine everyone is a potential friend you’ve met at a party – think about first impressions.”(2)

Jeremy Lim, Musician : “Be active in your community. Help lift others up. Reciprocity is king. Be honest about how you label yourself. There are people looking for what you have to offer, but if you portray yourself incorrectly, you’ll only create resentment.”

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Thank You, Artists!

Photo Credit: Kris Krug

In the next bit, I’ll be writing some posts on How (and Why) Artists are Using Social Media –  based on my research and the (over 100!) wonderful responses I received to my Artists Using Social Media Survey.

My own experiences (as an actor etc.) as well as my research into Crowdsourcing got me thinking.  As the tools become more accessible and far-reaching, more and more artists are “doing for it for themselves”, finding a place to showcase and promote themselves using social media.

This gets me excited.  To a large extent, the traditional model and system excludes those whose talent doesn’t fit the general mold.  (I wrote a bit of a diatribe against the traditional system last year in The System is Flawed (In brief: “…it is impossible to ignore the fact that rather than being a potential vehicle to bring in exciting new content and performers into the arena, the system often becomes an obstacle course – stacked strongly against originality in every form. It is less about “what you can do” than weeding people out based on assumptions about what they can’t do and what they are not.”)

But this series is not about the “can not” – it’s about how one CAN. Innovative and ambitious artists are choosing to carve out their niche, realizing that although there are many artists out there, someone with true talent, drive, determination, and the will to learn can find their place, find their fans, and hopefully a way to make their work successful (in whatever way that is measurable to them).

As I look through these fantastic responses, I want to give a huge thank you (and virtual hug, if I may be so sappy) to all the fabulous people who took the time to share their work and tactics with me:
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