THE FUTURE IN SITE: Technology is finally catching transforming the operational backbone of the global film business. But can an industry built on personal contacts and face-to-face interactions change that much. It's already happening, says Colin Brown in an article published today in "Screen International"

1. feature focus
n An online revolution n the websites you need to do business n crowdfunding
W
hat a difference a decade
makes. At the height of dot-
com euphoria, all manner of
overfunded start-ups made grandiose
claims about transforming the opera-
tional backbone of Hollywood and
shaking up the industrial foundations of
global cinema. Creative Planet, for one,
had visions of a vertically integrated
web community of media professionals
that mimicked the traditional studio
system — but without all the physical
baggage. InternetStudios sought noth-
ing less than to re-invent the financing,
sales and distribution ecosystem with a
digital marketplace for film and TV
rights. Both companies flamed out.
Some 12 years later and web technol-
ogy is only now starting to catch up with
such disruptive thinking. Some of those
same ideas have gained currency again,
albeit couched in more modest lan-
guage and with rather more concrete
ambitions that come tied to identifiable
industry needs.
Screen spotlights 16 business-to-busi-
ness web companies in the following
pages, but to that list could be added any
number of others.
evolution, not revolution
The fuTure in site
There are still hurdles. Proprietary data
systems, for example still have difficulty
talking to one another; and broadband
access, as anyone on the festival circuit
can attest, is by no means as universal or
as free as all those cloud-based, always-
Advances in technology may transform the way the industry does
on visions might suggest. Nonetheless, business, as a new generation of websites tries to lure producers,
at every point along the film-making distributors, sales companies, financiers and film-makers online.
process and distribution food-chain, old
ways are being rendered obsolete. but can an industry built on personal contacts and face-to-face
“Looking back five years, we under- time change that much? colin Brown reports
estimated the complacency of film and
TV buyers and therefore overestimated
their readiness for an efficient online to conduct business,” says the Cannes thrust into the digital age through the
B2B marketplace for audiovisual con- Marché du Film’s executive director, Jer- magnetic force of social media, smart-
tent,” says Mediapeers’ co-chief Moritz ome Paillard. “While developing a serv- phones and web-search dependency.
Viehweger. “Meanwhile our attitude ice such as Cinando, we’re always “The hopes we all had from a decade
changed from revolution to evolution, as straddling that borderline between ago are now being realised in more con-
we support the market participants to thinking in advance what could be use- crete ways, primarily due to the lower
interact more efficiently rather than ful for the industry and listening to their cost of technology and because we are
change the rules of the game.” comments. They can express needs but all now connected and more empow-
“I don’t see Cinando’s core audience, we can’t really expect them to describe ered by technology,” says Ian Hierons,
film production and indie distribution, what should be done.” who is spearheading a nascent film
eager for dramatic changes in their ways Like it or not, the industry has been music marketplace, Score Revolution. »
www.screendaily.com December 16, 2011 Screen International 23 n

2. feature focus
“Five years ago, our primary chal- cinanDo Launch date Born as cannesmarket.com ers which decreases their ability to
lenge was creating a product that didn’t www.cinando.com in 1999, the site became a year-round make decisions purely in the benefit of
intimidate less technically proficient A natural outgrowth of all the registra- service as Cinando in 2007. greater efficiency — we think it is defi-
users,” recalls Baseline’s Kevin Wyatt. tion details that are collected by the Key executives Jerome Paillard, nitely doable with smaller to medium
“Now the challenge is keeping pace Cannes Film Festival every year, Cinan- executive director, David Capaldi, project size festivals.”
with an ever more sophisticated user do’s online database has grown to manager.
base.” encompass 35,000 contacts, 20,000 Cost to users $115 (¤85) per year, Launch date Founded in November
An informal poll of executives, con- films and projects and 1,600 online but is included with the registration at 2008 as a UK company; in 2009 it was
ducted appropriately enough through screeners. Cinando has made strenuous the Cannes Marché and with such film registered in Prague, its current HQ.
LinkedIn, found only one, a French- efforts to become a year-round refer- market partners as AFM, EFM, Filmart. Key executives Tomas Prasek, co-founder
based producer, who continues to shun ence and networking tool, one that is Ownership structure Owned by the and CEO (Prague), Dawna Cha, co-founder
the web completely in favour of infor- used at other major film events, includ- Festival de Cannes AFFIF. and director of business development
mation provided the old-fashioned way ing Berlin’s European Film Market, Business model Advertising and ‘The plan is clear (Seoul).
by partners and distributors. The rest Hong Kong’s Filmart, the American subscriptions. Cinando is supported by and simple — Cost to users Approximately $4,000
drew on a combination of sites, with Film Market (AFM) and Toronto. the EU’s MEDIA programme. (¤3,000) per year for the flagship service.
Cinando, IMDb, Baseline’s Studio Sys- “Cinando is an extension of the serv-
to become Ownership structure Privately owned
tem and Festival Scope repeatedly men- ices provided by the Marché du Film, a every festival’s limited liability company (Ltd) with one
tioned as useful, even invaluable. real, actual… film market,” says execu- first choice investor from outside the film industry.
While these new B2B web services tive director Jerome Paillard, distin- Business model Core product is provided
introduce much-needed layers of effi- guishing himself from internet
of software as software as a service (SaaS) with an
to manage
The websites you need
ciency, simplicity and even transparency wannabes. “We have shared it with annual subscription. Other consulting and
to the movie business, no-one talks any other film markets around the word the event’ advisory services to festivals and film-
more of supplanting the status quo. and the industry loves that. Another key tomas Prasek, makers are charged based on the project.
Eventival’s Tomas Prasek says he is factor is that only reputable organisa- eventival
“driven by the desire to help change the screen spotlights 16 online services which aim to assist with financing, tions can be trusted by the industry to
film festival industry from within”. handle their films.” festiVaL scoPe
rights management, box-office information, screenings and networking. Such trust will be essential if www.festivalscope.com
industry knowledge Profiles by colin Brown Cinando is to fulfil future ambitions. While working in sales and acquisitions
Jason Kassin, whose budding Rights- “Mobile is the most promising evolu- — she at MK2, he at Celluloid Dreams
Trade platform comes closest to achiev- tion, and definitely a challenging one,” eVentiVaL — Mathilde Henrot and Alessandro Raja
ing what proved beyond the reach of BaseLine localised versions of The Studio System says Paillard. “Cinando is already avail- www.eventival.com spotted the need for a professionals-only
InternetStudios, uses similarly circum- www.baselineresearch.com that speak to the business priorities of able on the iPhone. The coming version This Czech-based outfit markets a web- film platform for on-demand viewing of
spect language. “The world of film Having paid $35m to acquire Baseline’s each territory. The challenge will come will include iPad and we’re working on based data management and festival festival films.
licensing and distribution is a highly movie and TV industry database in in understanding what data and busi- a mobile offline — but still secure — production software system, Eventival “We felt there was a missing link,” say
complex business model that requires 2006, The New York Times promptly ness intelligence has value in the differ- screening room. Instead of simply 2.0, that does everything from stream- the co-founders. “We came up with… a
software solutions built from years of sold it back to the original owners, ent markets. Countries with film transposing the web version to these lining submissions to printing out bar- tool to help new talent emerge, pro-
industry knowledge.” With RightsTrade Mitchell Rubenstein and Laurie Silvers, industries that are largely state-spon- new devices, we are now developing coded accreditation cards and grammers and film critics screen, buy-
“we want to provide business efficiency this October. That duo already controls sored have little interest in the competi- solutions to answer the new needs born simplifying travel logistics and internal ers acquire and sales agents sell.”
enhancements and leading-edge tech- a stable of internet properties including tive development information that is of mobility. communications. Festival Scope currently presents
nology within the existing industry Hollywood.com, Spill.com and Holly- Baseline’s bread and butter in the US. “As a service created and run by the When unveiled in February during films from more than 65 international
structure — as opposed to disruption for wood Wiretap. Festival de Cannes, we are driven by the Berlinale, 10 festivals were using it film festivals.
disruption’s sake”. Baseline is principally known for its serving the industry and the film-mak- as their virtual back-office. Now more “We watch the films we show and
Even Slated, a newcomer that aims to high-end flagship subscription service, ‘The market ers, rather than building a business. But than 40 film festivals and other organi- highlight the ones we think need high-
flatten the landscape for independent The Studio System, which offers an desires one-stop I definitively see the possible emer- sations have deployed the system to lighting,” the partners explain. “In our
film financing by replicating some of the expanding array of directory search, gence of the direct distribution concept prepare, organise and archive their newsletter, Festival Scope Selects, there
systems that have worked in other tracking and competitive intelligence
shopping — a as a potential growth area for Cinando.” events. are five films plus one ‘talent to watch’
industries, recognises the behavioural services. “The feedback we hear most solution that “On average, two new festivals begin
codes that govern movie deal-making. often is the market’s desire for one-stop eliminates the to use Eventival every month,” says
“Most film business is conducted shopping — a solution that eliminates CEO Tomas Prasek. “We are experienc-
offline, over the phone, at festivals and the infinite white noise of the internet
infinite white ing growth both in terms of new territo-
via e-mail,” says Slated’s CEO Duncan — and that’s what we strive to deliver,” noise of the Launch date 1985. ries and business segments. Currently
Cork. “There is a lot of inefficiency and says Kevin Wyatt, Baseline’s director of internet’ Key executives Amer Saleem, director of with clients in 24 countries in Europe,
cost associated with doing business this syndication sales, who has been with Kevin Wyatt, Baseline technology; Salvatore Capone, manager, the US, Asia and Africa, we see new
way. Technology can improve that proc- the company since 2002. sales team. requests for collaboration coming from
ess, but it’s not exactly disruptive. Baseline sees international growth Cost to users Service tiers and pricing the whole world.
“We have to remember the film indus- prospects ahead, particularly in its data- vary from $5 a day to thousands per year. “The plan is clear and simple — to
try is built on relationships. It’s about licensing business: theoretically, the Ownership structure Privately held by become every festival’s first choice of
who you know and who you can trust. To demand for localised entertainment Project Hollywood, LLC. software to manage the event. While
create real disruption through technol- can only increase as the world’s video Business model Subscription sales, a la this may be more complicated with the
ogy, the industry needs to use it with peo- delivery infrastructure transitions to carte information products, data licensing several largest film festivals — because
ple they know and trust. It starts there.” digital. There is also an opportunity for and syndication. there are often too many decision mak- »
n 24 Screen International December 16, 2011 www.screendaily.com www.screendaily.com December 16, 2011 Screen International 25 n

3. feature focus
every week. We also keep track of all nism,” says CEO Jason Kassin. “Our iMDb (iMDb Pro, Box Maccs
the films all year round in terms of core business still revolves around con- office Mojo, Withoutabox, www.maccs.com
awards, selections, releases, reviews tract administration and rights man- createspace) This Netherlands-headquartered com-
and so on. agement. The emergent property of www.imdb.com pany’s Movie Accounting System — or
“We emphasise our assets — our that data is the availabilities. This is the http://boxofficemojo.com MACCS — sees approximately 35% of
technology that makes viewing films on Holy Grail — what is available to be www.withoutabox.com international box office processed
Festival Scope the best option in terms licensed to whom and when? www.createspace.com through its systems — a percentage
of security and user friendliness, our “By making such information availa- With more than 110 million worldwide CEO Bert Huls expects to grow 50%-
complete independence and our curated ble in a secure context, the potential for unique users per month, not to mention 55% in the next three to five years.
approach. We have learned that in a an evolved — and potentially disruptive 27 million mobile app installations, MACCS software covers everything
world of overabundance, our — and our — business transaction becomes more IMDb is the consumer world’s leading from rights management, theatrical
partner festivals’ — curated and selec- real.” movie website with versions available distribution, p&a and virtual print fees
tive approach are of great value.” RightsTrade, a new initiative the in eight languages including Chinese. to sub-licensing and royalty statements.
Festival Scope developed its own spe- company is participating in that will With Amazon’s backing, it has also Other services include MaccsBox, a
cific video player that allows only one launch at Cannes 2012, contemplates become a habitual information source web-based data-exchange platform,
screening per film, at the highest stand- just such a paradigm shift by creating a for industry professionals, happy to and D-Cinema Hub, a one-stop-global-
ard in streaming quality, with the ability secure marketplace where buyers and take free advantage of Box Office Mojo shop for online ordering, post-produc-
to restart the viewing exactly where the obviously the US. There are always lan- sellers can view inventory ‘avails’ in real or be among the 350,000 claimed film- tion and delivery of digital cinema in
user has left off, even days later. Stream- guage and cultural issues, particularly time on any mobile device and effectu- makers that use Withoutabox to submit which it is partnered with XDC.
ing features are designed to ensure across APAC, Africa and the Middle ate agreements on an instantaneous films to festivals around the globe. Add “MACCS enables customers to con-
additional security for rights holders. East markets, so it’s very important to and paperless basis. Users can sync in IMDb Pro’s contact listings for duct business more efficiently and effec-
employ local talent in key areas. Each of data seamlessly between their internal 80,000 professionals and 30,000 enter- and every time period,” says IMDb tively through operational cost
Launch date September 2010. these regions will have their own chal- systems and the marketplace, much as tainment companies and it is small founder and CEO Col Needham. And reductions and additional insights that
Key executives Alessandro Raja, CEO lenges and different business opportu- they are doing now with their own cor- wonder executives often gripe about then to find a way to make sure that increase business and revenues,” says
and founder; Mathilde Henrot, founding nities.” porate sites. their credits — this website matters. work is seen. Huls. “Our facilities provide clients with
partner. “The idea is to provide the same level And IMDb is not done yet. “Our aim A first step came with the 2005 the opportunity to switch their focus
Cost to users Free. Launch date December 2011. of access as a Cannes or an AFM in the is to cover every movie and every TV acquisition of CreateSpace, which from operations to marketing.
Ownership structure Privately owned. Key executives Scott Barber, Nick Pye, comfort of the user’s own home, office show from every country in the world allows film-makers to sell movies to a “Theatrical is key in the distribution
Business model The plan is to launch Gita Azizi, co-founders. or hotel suite at the end of a lucrative worldwide audience through DVDs- process in regards to awareness and
a yearly subscription fee per user. The ‘We have learned Cost to users Free. day at the market,” says Kassin. on-demand or video downloads via marketing of a film across its full life
price has not been announced though that in a world of Ownership structure Private. Amazon VoD. But Amazon’s own cycle. We’ve been approached by many
the founders are keen to keep it “very Business model Advertising and Launch date FilmTrack was founded in acquisition of Lovefilm suggests bigger producers about getting their product
affordable” in order to grant access to any
overabundance sponsorship. March 2000. RightsTrade LLC founded in plans are afoot. on the web but the question is, who’s
film professionals who may need it. our — and our May 2011 and will launch in May 2012 at “We see the whole industry still ripe ‘We see the going to buy it? Especially if nobody’s
partner festivals’ Cannes. for innovation and disruption,” says whole industry heard of the product. How do they cre-
fiLMtracK softWare Key executives Jason Kassin, CEO; Needham. “The biggest area for IMDb ate awareness? As long these questions
fiLMnaV
— curated (rightstrade) Stephen Kassin, president; Thomas is in connecting film-makers with their
still ripe for are not answered, we’re not interested in
www.filmnav.co.uk and selective www.filmtrack.net Coleman, chief technological officer. audience. The internet offers incredible innovation and administratively supporting the numer-
This online portal for the UK film approach are of www.rightstrade.com Cost to users FilmTrack offers a standard opportunities to reach what in the past disruption’ ous initiatives in this market.”
industry chose this year’s launch date FilmTrack bills itself as the world’s entertainment licence model as well as a might have been considered frag-
— December 5 — quite deliberately. It is
great value’ leading provider of rights management software-as-a-service model for smaller mented audiences, and to build a closer
col needham, iMDb
Launch date Founded in 1994. Product
the same day, in 1958, which saw the Mathilde Henrot and and contract administration services companies. RightsTrade offers free usage; and on-going relationship between launched in Germany, UK, Belgium,
alessandro raja,
opening of the UK’s first motorway, the festival scope with significant penetration in the film commission will be charged for completed film-makers, distributors and viewers.” Netherlands and Australia from 2000.
Preston bypass now known as the M6. and television markets. FilmTrack was licences and fees will be charged for Key executives Bert Huls, CEO; Mathieu
Co-founded by film enthusiast and initially positioned as an efficiency tool special services such as digital delivery. Launch date October 1990. IMDb Pro van As, chief technology officer.
admitted road geek Scott Barber, Film- that effectively aped the existing mech- Ownership structure FilmTrack is launched in 2002; Withoutabox and Box Cost to users From $13,400 a year.
Nav’s design is also based around UK anisms for the IP lifecycle. Quite a bit privately owned. RightsTrade is owned by Office Mojo acquired in 2008. Ownership structure Privately owned
road signs and icons. The intended has changed. FilmTrack’s principals, together with Jado Key executives Col Needham, founder with start-up funding from a venture-
message: this is the online highway for “As we’ve migrated our software Holdings and Matilda Media Group. and CEO; HB Siegel, chief technology capital company.
UK film-makers, helping them with solution itself into a browser-based Business model Software licensing, officer; Toni Reid, head of consumer Business model Fixed monthly fee or per
funding, hiring people and kit, and model, we have evolved into an online maintenance, support, software-as-a- products; Jack Bernstein, head of transaction.
post-production services. back-office storage and delivery mecha- service, and pro services. professional services.
“Competition to FilmNav in the UK Cost to users IMDb’s consumer website
is not that great,” suggests Barber. He and mobile apps are free, as is Box
has recently spent two years in Delhi Office Mojo. IMDb Pro is $125 per year.
and his eyes are set on expansion into Withoutabox, which is free for film-
the Indian market. “My aim is to have makers, takes a cut from submission fees.
FilmNav established in the Big Five Ownership structure A wholly owned
film-making areas globally — India, subsidiary of Amazon.com.
Hong Kong (covering Asia), Egypt Business model Advertising and
(covering the Middle East), Nigeria and subscriptions. »
n 26 Screen International December 16, 2011 www.screendaily.com www.screendaily.com December 16, 2011 Screen International 27 n

4. feature focus
MeDiaPeers (MPX) business data to us or rely on our tech- oLffi (online film tana Sur in Buenos Aires, Abu Dhabi’s
www.mediapeers.com nology for their core business proc- financing) Industry Centre and Tallinn’s Black Mar-
This Berlin-based company operates esses, they want the reassurance of a www.olffi.com ket Industry Screenings.
the Mediapeers Exchange, which local face. Thus we have team members A web platform designed to alleviate Only verified industry representatives
claims to be the world’s largest busi- in London, Los Angeles and Madrid, the headache of sifting through are given an access code and their
ness-to-business marketplace for audi- while our product development Europe’s 150 film funds and initiatives, names are overlaid when the film is
ovisual content. remains centralised in Berlin.” Olffi is itself a French-Irish co-produc- played back, so illegal copies can be
By pushing sales and distribution This year, Mediapeers’ revenues tion with development being done in traced. Reelport’s white-label solution,
into the cloud, MPX reduces transac- jumped 70% on 2010, with expecta- Paris and all sales, marketing and tech- PicturePipe, is the customisable tech-
tions costs and liberates buyers from tions of further growth in 2012 on the nical support undertaken from Dublin. nology behind a joint initiative from
the costly handling of screeners and back of US demand. An iPad tablet ver- A Beta version is set to be unveiled at Stuttgart’s public library and film festi-
broadcast tapes, not to mention billing sion of MPX is also in the works that founder and chief technology officer. Cannes 2012, followed by a launch at val to launch an online animation
runs with a multitude of suppliers. We underwent a may answer executive grumblings Cost to users Software-as-a-service the International Rome Film Festival library. The aim is to create a perma-
“We underwent a metamorphosis metamorphosis about spotty wi-fi. (SaaS) fees are based on the number next October. nently accessible film archive that can
from marketplace to software-as-a- “I am convinced in 2012 we will of users and catalogue size. They range “Olffi will also be positioned as a also be used as a sales platform for pro-
service provider as we initially underes-
from launch a dedicated app for iOS devices between $200-$10,000. clearing house for distributors and fessionals.
timated the personal touch in marketplace to that will support offline use cases, such Ownership structure Founding investors equity financiers,” says one of its three More than 10,000 archived films will
acquisition decisions,” explains co-CEO software-as-a- as researching and screening at a mar- are T-Venture (Deutsche Telekom),Telepool co-founders, Ilann Girard, a financial be gradually digitised and added to the
Moritz Viehweger. “We were fortunate ket without relying on the typically poor and Fintage House. adviser and producer. “By outlining the collection.
that our clients ultimately pushed us to
service provider internet connectivity,” says Viehweger. Business model Monthly software-as- viability and financial soundness of a Reelport sales executive Sebastian
reformulate our vision to become the Moritz Viehweger, a-service fee for cloud-based services; project, Olffi should be in a position to scenarios will be charged a licence fee. Nase believes film distribution and
Mediapeers
Leatherman for content distributors.” Launch date January 2008. technical service fees; customisation facilitate and encourage private invest- Ownership structure Owned by three screening are ripe for innovation
Not that everything will be cloud- Key executives Moritz Viehweger, and development of client-specific ment in film production.” founders and a private-equity fund. “because of the streaming technologies
based. “Once our customers entrust founder and co-CEO; Holger Hendel, functionality, charged as a per diem for The online toolbox will enable pro- Business model Revenues derived from and increasing processing power of
their entire media archive and vital founder and co-CEO; Torsten Graf-Oettel, software development. ducers to assess the rules, eligibility and licence fees (paid by users), promotional computers worldwide. Why shouldn’t a
compatibility of EU funding pro- and consulting services (paid by film cinema down-load and play-out a the-
grammes — research they would other- funds and services providers) and public atrical version of any film on the day
wise perform manually or pay a support from the MEDIA programme they need it?”
consultant some $6,700-$8,000 (likely to decrease over time). Nase is wary of competition from
SCREEN STAR
(¤5,000-¤6,000) to conduct. BRIC countries. “In the near future,
“Olffi will provide a different per- pricing will definitely be an issue.
spective on funding potentialities in reeLPort (PicturePipe) Because the wages are so low in these
Europe,” claims Girard. “More trans- www.reelport.com ‘By outlining the countries, it will be difficult to
parency and better understanding will www.picturepipe.net viability and compete on this level. Therefore we
create a different environment and lead This Cologne-based short-film portal have to keep ahead in terms of being
to more specialisation among Euro- has spent the last several years packag-
financial familiar and having in-depth knowl-
pean production centres.” Users will ing festival submissions into a shorter, soundness of a edge about the special characteristics
also be able to apply online to the vari- more professionalised process. Film- project, Olffi of our market.”
ous applicable funds. makers register online, complete the
Olffi has struck partnerships with the form, provide a synopsis and film stills
should be in a Launch date 2004-05.
various MEDIA-supported databases and then upload their films as digital position to Key executives Tilman Scheel, founder
and news agencies. “We are also work- files. With more than 70 international facilitate and and managing director.
ing in sharing data with private sources festivals conducting their submissions Cost to users Various as products are
and professional organisations such as this way, Reelport claims it has saved on
encourage customised for every user.
producers’ unions and training pro- the production and shipping of some private Ownership structure Private.
grammes,” Girard explains. 320,000 DVDs. investment in Business model Rather than take a cut
This constant updating of all transna- Reelport also operates the video of festival submission fees — something
tional, national and regional funding library for six events: Cannes’ Short Film
film production’ European festivals do not tend to charge
programmes, plus the expense of devel- Corner, Tampere Film Festival, Interna- ilann Girard, oLffi — Reelport relies on a small ‘transmission
oping the requisite search engine and tionale Kurzfilmtage Oberhausen, Ven- fee’ for each film submitted.
London’s venue of choice for the entertainment industry, The May Fair is a hub for happenings of every kind. With a sleek retro styled, budget tools, is seen as an entry barrier
201 Italian leather seat theatre and advanced Real D, 3D-ready technology, private screenings here are an arresting experience few for would-be competitors.
cinemas can match. Its glamorous heritage, bold design and unstuffy take on five-star hospitality make The May Fair a true one off.
Launch date End of 2012.
Key executives Joelle Levie, CEO and
president; Francois Farrugia, managing
director; Ilann Girard, director of
Telephone +44 (0)20 7915 3898 development.
Email events@themayfairhotel.co.uk Cost to users Consultation on funding
Website themayfairhotel.co.uk/events rules, newsfeed and market data is free.
Applications, budget tools and financing »
n 28 Screen International December 16, 2011 www.screendaily.com www.screendaily.com December 16, 2011 Screen International 29 n

5. feature focus
rentraK (international Box “Distribution is the biggest area for independent film-makers when they people to what we do and to tell differ- “Unlike many crowd-funding plat-
office essentials) innovation — connected devices that are fully aware of the opportunities that ent kinds of stories. But it has certainly forms that cater to all project types, and
www.rentrak.com enable non-linear distribution on a glo- are open to them. We’ve been surprised not replaced what we offer — a niche at much lower budgets, we decided to
For more than two decades from its bal basis — both ad-supported and tra- that some sectors of the film business and passionate community dedicated to exclusively focus on film finance, and
headquarters in Portland, Oregon, Ren- ditional.” have a limited understanding of what a making films together. cater to established film-makers and
trak has kept refining its measurement great asset film music can be after it has “It’s not really about having the most financiers looking to raise tens of mil-
technologies in a bid to provide custom- Launch date Founded in 1999, already served the film.” resources or the flashiest technology, lions,” explains chairman Stephan
ers with near-real-time, actionable restructured in 2007, relaunched in 2009. but about being an organisation that Paternot. “We decided this would be an
insights into how content performs Key executives Rob Delf, CEO. Launch date Set for the first quarter of connects an active community of film- investment platform only, not a dona-
across every commercial media plat- Cost to users Initial set-up fee, monthly 2012. Presently in private beta. makers in a really authentic way.” tion platform. As such, all our investors
form. Its systems process nearly 1 bil- cost per user. Key executives Ian Hierons, Christine Adds UK-based co-founder Cath Le are accredited investors with about 50%
lion pieces of information every day Ownership structure Private CA C-Corp. Russell, Seth Kaplan, co-founders. Couteur: “One measure of success for of our investor community represent-
— that is more daily transactions than Business model Software delivered to Cost to users For film-music owners, us, is that film-makers continue to sup- ‘We decided to ing institutions, distributors, sales com-
most credit-card companies handle. support end users on a monthly cost basis. there is no registration or submission port our subscription model, which exclusively focus panies and so on.”
A major part of that business is the cost; licensing fees are split. Licensing suggests they are still getting key value Adds CEO Duncan Cork: “We sup-
tracking of box-office returns, spurred customers pay a negotiated fee for each and benefit from belonging to the
on film finance, plement existing fundraising efforts by
in part by the acquisition of Nielsen score reVoLution piece of film music used, the size of which organisation. Our view, is that the small and cater to aggregating and educating a ‘new’
EDI and Cine Chiffres in France. http://scorerevolution.com is dependent on media use, territories and subscription fee alleviates much of the established investor, and increase fundraising effi-
“We help the industry both strategi- Business customers around the world the music they have requested. noise you tend to see in free networks. ciencies through standardisation and
cally and tactically,” says CEO Bill license music every day — but great Ownership structure The company is The atmosphere is very collegiate.”
film-makers transparency. This will expand reach
Livek. “We keep track of the entire film riGHtsLine film music can be difficult to find and owned by its three founders and a group In the last two years, Shooting People and financiers beyond what any individual is capable
industry. Who’s going to the movie and www.rightsline.com difficult to license. This is the rationale of US-based private investors. has been approached by entertainment looking to raise of doing by being on the phone, attend-
how much they are spending at each RightsLine is a software-as-a-service behind Score Revolution. Business model Based on a split of companies looking to commission con- ing festivals and knocking on the same
screen as well as every commercial (SaaS) platform that enables content “By launching the first film music licence fees with music rights holders. tent from its network of film-makers.
tens of millions’ doors.”
activity on the small screen including distribution companies to track the marketplace, we are providing custom- “This is an interesting area of new stephan Paternot,
slated
video-on-demand and digital down- deals, contracts and contractual rights ers with straightforward access to the growth for us,” says Le Couteur. “Adver- Launch date Founded in 2009, a public
loads. We are the census company for for all of their assets. film music they value and want to tising agencies are being cut out and we beta launch is earmarked for January
the entertainment industry.” “We are the only web-based solution license for use in other films, television, are seeing clients coming to us for con- 2012.
And not just in the US. Rentrak is a that does this, providing distributors advertising, film trailers, interactive tent directly. We predict ongoing Key executives Stephan Paternot,
global company with offices in 15 cities real-time visibility into what they can games and other media. Our revenue growth for this relatively new revenue chairman and co-founder; Duncan Cork,
and 11 countries. The international do what with where,” claims CEO Rob model is based on a split of licence fees stream.” CEO and co-founder.
footprint of its Box Office Essentials Delf. “Our solution enables companies with music rights holders,” explains co- Cost to users free.
service has grown with the recent addi- to track where they have assets and the founder Ian Hierons, himself a sound- Launch date November 1998. Ownership structure Sub Chapter
tion of the Portugal market, the expan- deals associated with them.” track producer. Key executives Cath Le Couteur, founder; C Corporation. Investors include
sion of its management team in Russia Founded before the first dotcom bub- “Any new media platform that uses Jess Search, founder; Stuart Tily, technical Stephan Paternot, general partner of
and the commencement of collecting ble burst, RightsLine says it has pro- music — for advertising, promotion or director. the Actarus Funds; Barry Silbert, CEO of
film information in mainland China. vided web-based asset and rights as part of its creative content — will be sHootinG PeoPLe Cost to users £35/$40 per year. SecondMarket; and Autumn Partners.
“We cover 90% of the global box management for longer than any other a market we can penetrate. For exam- http://shootingpeople.org Ownership structure Owned equally by Business mode Eventually, Slated might
office,” says theatrical chief Ron Giam- site. Time enough to restructure and ple, I can see that the emergence Founded 12 years ago as a way to con- the three top executives. become a registered broker and take a
bra. “We were also the first to offer a change tack somewhat. “Our business of legitimate media channels on nect just 60 film-maker friends, Shoot- Business model Membership s
handling fee. n
mobile service. We did this six or seven has evolved by listening to what our YouTube will provide us with addi- ing People now boasts 38,000 members subscription and content commissioning.
years ago and now we have apps for users want. As a result, we have changed tional revenue.” and an indie community that grows by
BlackBerries, iPhones and iPads.” our focus to specific markets and client Score’s pre-launch/private beta out- 200 new crew and cast every week.
types,” says Delf. “We see our growth reach has been well received by both During that time, a phenomenon sLateD
Launch date Founded in 1977 as National coming from small content distributors independent film-makers and film- known as Facebook erupted and threat- http://slated.com
Video Inc. that are either creating or aggregating music owners, as well as some major ened to engulf all online communities Now being tested out on 100 users,
Key executives Bill Livek, CEO; Cathy content in a specific niche [Hindi con- US and European film companies. But — or potentially enliven them. Slated is a socially vetted online film
Hetzel, president of Advanced Media tent for example], and then distributing the industry still faces a learning curve. “At one point we were nervous about investment marketplace — the movie
Information division; Ron Giambra, that content on VoD channels.” “Our innovations can only serve having a presence on Facebook equivalent of Silicon Valley’s match-
president, theatrical worldwide. because we worried people would just making platforms that hitch budding
Cost to users Subscription fees. use that instead,” recalls Shooting Peo- start-ups with angel investors.
Ownership structure Public company ‘We keep track ple’s New York-based editor-in-chief Slated’s users will be able to track
listed on the NASDAQ stock exchange. of the entire Ingrid Kopp. professionals across their peer-group,
Business model Rentrak is split between “One of the lessons we’ve learned is and reach out to film-makers who are
two core businesses: media measurement
film industry. We to really understand how different plat- raising funds for projects. Slated uses a
and analytical research; and a home- are the census forms work, and how communities web platform to aggregate user-gener-
entertainment distribution division that company for the evolve based on user experience and ated content about the community and
acts as a revenue-sharing middleman effective community management. the films seeking funding, and an
between video retailers and their content
entertainment Facebook is a completely different eco- e-mail system to keep users updated
suppliers. The box-office data business industry’ system from Shooting People and has without having to go online too fre-
generated $18.3m in fiscal 2011. Bill Livek, rentrack been a fantastic way to introduce new quently.
n 30 Screen International December 16, 2011 www.screendaily.com www.screendaily.com December 16, 2011 Screen International 31 n