Video Blocks Archive Service - Filmmakers Pay Attention
Recently Video Blocks Archive published their service encouraging filmmakers to "free download all their archive for 7 days" We noticed at one of the documentary forums a filmmaker published this -
Just got burnt by this archive company, Video Blocks, which advertised a 7 day trial period, instead of asking whether I would like to use their service, they just began to charge my account. Obviously a way of collecting money, its not illegal as it says in their small print they can do this, although it should be illegal. They won't return the money, I'm considering taking it further, its not a huge amount, but its just the principal of the thing. It's not right to take money without an authorization after a trial, a trial is a trial. Has anyone else had this experience with this company?
So filmmakers, be careful and make sure you get feedbacks on online services, and please share information.
Update: Louis C.K has gotten a million dollars already! That's brilliant news for all you filmmakers who are still debating whether to offer download files copies of your movies, he was told by others that it would be ripped of.
No, Luis CK is not making a documentary, but he's one of our favorist comedians out there, and well, we feel that his message and bold move can inspire many indie filmmakers. Louis CK decided to make his own stand. The comedian rented New York City's Beacon Theater, hired his own production crew and filmed a brand-new one-hour comedy special out of his own pocket. The aim? To offer it one month later as a $5 Internet download. In his sharp way he stands up against torrents users:
"To those who might wish to "torrent" this video: look, I don't really get the whole "torrent" thing. I don't know enough about it to judge either way. But I'd just like you to consider this: I made this video extremely easy to use against well-informed advice. I was told that it would be easier to torrent the way I made it, but I chose to do it this way anyway, because I want it to be easy for people to watch and enjoy this video in any way they want without "corporate" restrictions.
Please bear in mind that I am not a company or a corporation. I'm just some guy. I paid for the production and posting of this video with my own money. I would like to be able to post more material to the fans in this way, which makes it cheaper for the buyer and more pleasant for me. So, please help me keep this being a good idea. I can't stop you from torrenting; all I can do is politely ask you to pay your five little dollars, enjoy the video, and let other people find it in the same way."
Sincerely, Louis C.K.
We know we will be supporting CK, and we hope this will make a small step toward making DIY a popular chocie for both filmmakers and viewers.
DocMovies is on Tribeca 15 Twitter Feeds Every Doc Filmmaker Should Follow!
"Covering topics including, DIY, Digital Distribution, and New Media, @DocMovies provides updates on the state and evolution of filmmaking in the digital age, thus making it a valuable resource for any filmmaker. The feed also publishes news regarding major film events such as festivals and award ceremonies" Read The Full Article
In July 2010, documentary filmmakers won a three-year exemption from the Digital Millenium Copyright Act (DMCA). This exemption allows a filmmaker to take materials from DVDs and use those film clips for criticism and commentary. But this exemption is in no way permanent.
Documentary film is critical to our culture and our democracy. The DMCA undermines filmmakers' ability to utilize fair use with the footage in their films by making the act of ripping footage from a DVD illegal. The IDA and Kartemquin Films together will be requesting that this exemption be renewed to allow all filmmakers to obtain the film clips they need under protection of the law. To do so, WE NEED YOUR HELP.
DocMovies is excited to present a new initiative filmDIY, our new baby.
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Since 2002 we've been writing, interviewing, and collecting news about the indie community, and since we came from the documentary world, we shared our passion for documentary through DocMovies website. A few months ago we departed from DocMovies' sister site – DocTrailers. The site was pre YouTube era, where we made it possible for filmmakers to upload their trailers and share their stories online (A revolution technology at the time) Thanks to DocTrailers, we got a chance to meet filmmakers from all over the globe and we were excited to feature their work to the wide public. We knew that there was no money to make, but we spent our time and no energy to share the platform with any indie artist who needed it. Of course now with YouTube revolution, we just had to say goodbye.
In recent years we paid attention to the ever growing evolution of digital distribution, understanding the impact its going to have on all of us filmmakers. And so, we opened a Twitter account where we are continuing posting news about the new technology distribution tools that are now available for filmmakers, and of course news about documentary, because it's really “All about documentary”. We have gathered together DIY tools and resource for our readers, and started gathering all available services that are out there for you to use. And that kept us thinking, we saw a lot of great projects, but something was missing. So instead of writing about the tools, we dived in and created a platform that will fully provide filmmakers with an ultimate solution to digital distribution and marketing. And that's how filmDIY came alive. Two filmmakers with zero budget tackling what is it the community can use to its advantage, and we think we have the solution with filmDIY.
We would love to invite you all to join us at filmDIY, the service is free, but we need to sustain financaily so we are thrwoing the split payment method where you make 70 perecent of all income from your movie and we keep 30, we don't make money if you don't, simple as that. Filmmakers get roylties immediately with every transaction straight to their PayPal account in full trancpercy within seconds when a transaction is made. We have more great stuff, you can read all about it in a blog host Yoram Scheffer and Kobi Shely wrote for indieWIRE - Hope For Film, here is the full blog guest on filmDIY
As always, it all started from my own personal experience and an eagerness to overcome frustration. I’ve been producing and directing films since 2000. Many of them were broadcast in TV channels around the world, some of them won prizes in film festivals. But my true love, both as filmmaker and viewer, was movies made for niche audiences.
I used to rely on public funding, which is quite developed in Europe, especially compared to the system in the US. Receiving $60,000-$100,000 for a movie just by preparing a written proposal and a short trailer can get your movie project started, but there are drawbacks: competition is fierce, and you have to abide by implicit tough rules regarding both your movie topic and the way you make it.
When I chose not to obey, the answer from film funds was always negative.
There’s not much one can argue about when trying to define ‘artistic considerations’, even when you know that art is a personal choice. But since I owned a post production facility, and a production house, I could allow myself to make my own movies from time to time, even without public support.
Then in 2007 I decided produce a film about Apple fanatics, a DIY effort that I’ve put to the test. I wanted to make a movie I was passionate about knowing it will never get government support. Finally, we produced MacHEADS totally independently from pre-production to distribution. Back in 2007 it was not the traditional route to skip film festivals and go straight to digital distribution. The stigma back than for going digital, was “straight to DVD” strategy, admitting you couldn’t find a distributor to buy your movie, not something every filmmaker wants to be associated with. iTunes movie service started only in 2008. We knew we could get more audience to see our movie the digital way, so we went for it, and we were right.
From my studio apartment I was marketing and distributing MacHEADS to the world. No film festival could have achieved the same buzz created on the Internet. At some point I made a decision not to apply to film festivals, paying $50 to a small film fest didn’t make any sense.
We premiered the movie on iTunes and MacHEADS became number one in its category and number 8 at the 2009 top 50 documentaries. Hulu made 285,867 views (and still counting) And also became number one top movie in all categories/ Than the Netflix deals came and Snagfilms, and was finally broadcast on CNBC.
My personal experience with digital distribution was quite a learning experience. A lot is unknown to filmmakers even today when stats are coming out and the “wall of fear”, as I like to call the terror that agents and distributors are putting on filmmakers not to share information (They do that with contracts signed for secrecy) Is slowly overcome by many filmmakers who
