How to commercialise this?

Hi it was interesting. You have already filmed every thing? if yes. The problem is if you bring new sponsors you have to make sure that there is not competitors brands like in the helmet there was monster logo so if you try to get example red bull to sponsor its hard afterwards. I don't know how the copyrights goes when you use google search Engine in commercial if they are not involved in this movie. You can always try to get them in, but it can be hard .

If I were you I could fix the teaser little bit. More color correction on the dark shots and little bit thinking about those text's are they necessary or can you tell the base line of the story without explaining so much with text and more with her mouth or other way.

Finish the movie and then you should think some documentary festivals maybe and looking for distributor maybe not only dvd/blue ray, but you should think like about Netflix or TV-channels. Think if you need crowdfunding for finalize the movie.

Hey, this teaser was great! I would love to watch the entire film, very well done, especially with the the music choice, and cutting between the search engine and live shots. A constructive thought, maybe consider a different approach to the text at the end, it kind of flies off the screen, and then looks kind of scifi/horror -ish. I can just be simple.

Unfortunately, I don't anything about commercialization, but I just wanted to say I think your teaser and film is great, and I would love to support it.

gorillaonabike said:

This is my first foray into attempting to commercialise something I am shooting. I have a plan but wanted to know what you would do in order to monetise.

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The first thing I would suggest is not to shoot something and then figure out how to monetise it but to do it completely the other way around! IE. First figure out your commercial avenue and then plan and shoot according to the (technical and aesthetic) requirements of that commercial avenue. Not doing it this way around will almost always exclude you from all the main commercial avenues and result in only the self-distribution avenues being open to you, and of course that means relatively small commercial returns for a great deal of time/effort spent marketing (instead of film making).

I think we may have discussed this before, so I won't labour the point any further.

G

The first thing I would suggest is not to shoot something and then figure out how to monetise it but to do it completely the other way around! IE. First figure out your commercial avenue and then plan and shoot according to the (technical and aesthetic) requirements of that commercial avenue.

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This is exceptional advice.

But it's already been shot so perhaps advice on the current situation would be better appreciated..

I think you'll probably have to see it as an investment in future projects.

There aren't many feature length documentaries that are actively bringing in money (compared to the number made each year), let alone short docs. So I think that you have to accept that it's very hard to flip a switch an commercialise something like this. BUT you can definitely use it as a calling card to get involved with investors and funding opportunities. There are a large number of documentary funding schemes here in the UK (I actually think a disproportionate number compared to narrative funding opportunities) for which this should be a decent audition. So I would probably treat it as that, rather than trying to find a way to make it profitable straight up.

But it's already been shot so perhaps advice on the current situation would be better appreciated..

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Ok, practical advice. It's the same as every commercial venture.

1). Determine a target market. Specifically, those who will be willing to pay money to watch.

2). Work out how you can contact those people.

3). Test conversion rates with that method and that target market.

4). Determine whether the costs and the conversion rates make sense to continue with that method. If so, execute and earn a profit.

Repeat steps 1 through 4 until you give up exploiting the film/documentary.

So I think that you have to accept that it's very hard to flip a switch an commercialise something like this.

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I'd guess that the market would this film may be small, though, without knowing the film better, it's virtually impossible to have a guess at the potential target markets. So far it looks like it's disabled people, their friends and family, bike riders, those overcoming [something].

You either find a distributor/sales agent who will find your market or find the markets yourself.

AFAIK, gorilla started this project with monetising in mind.
Or am I mistaken?

If that is the case, maybe it is insightfull to know what problem you ran into, while you researched the market beforehand...

I think a project like this is hard to commercialise, but could get funding for the creation of it, because it deals with a specific group of people where several (charity) foundations are busy with. Plus it tackles a social topic, so it might be interesting to certain filmfunds focussing on social problems, disablement, empowerment, etc.

However, I don't think they will fund something that has already been made...

And really 'selling' a documentary is even harder than a feature.
Not many get a real theatrical release where people go to see it and pay for it (outside of the festivals).

Anyway: try to get it on next year's IDFA. (IDFA is now or just finished, so you're just too late for 2015 )

Sweetie said:

I'd guess that the market would this film may be small, though, without knowing the film better, it's virtually impossible to have a guess at the potential target markets. So far it looks like it's disabled people, their friends and family, bike riders, those overcoming [something].

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While all filmmakers should/have to think of the target viewers, self-distribution filmmakers only have to think of target viewers. It's different for commercial filmmakers for whom there's at least one additional level of "target market", because commercial filmmakers do not market direct to the viewer. In other words, the "target market" for commercial filmmakers is not primarily the public consumer but; sales agents, broadcasters, distributors or all three. Which leads me to:

WalterB said:

And really 'selling' a documentary is even harder than a feature.

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I don't agree with this. The number of commercial documentaries made, bought, sold and distributed around the world, vastly exceeds the number of features. If you're talking about wide theatrical release, I agree with you, today there's only a relatively small market for theatrical documentaries. If we're talking about "commercial", then TV completely dwarfs theatrical and is easier to sell than features.

This brings me back to what I was saying to Sweetie. There are target commercial markets for this documentary. While this may not be applicable in the US, in Europe (and some other territories) there are state run and/or funded broadcasters, many of which have a mandate which includes broadcasting a certain amount of "socially responsible", local or minority group content, target groups who would otherwise likely be ignored on commercial grounds, by the purely commercial (non-state) broadcasters. The OP is based in the UK, which has a prime example of one of these types of broadcasters, the BBC.

WalterB said:

AFAIK, gorilla started this project with monetising in mind.

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Having it "in mind" and actually building your film around it are not necessarily the same thing at all! The BBC would have been an obvious, prime commercial target for the OP. Has the OP made his doco in compliance with BBC requirements? IE. Shot it with BBC approved cameras, to BBC deliverables requirements, to the usual standard BBC doco length (50 mins), in compliance with BBC doco content guidelines, etc. If not, then as BBC specs are based on EBU specs, the OP has probably ruled himself out of any chance with most/all of Western Europe's main broadcasters. Going a step further, are the BBC planning a doco series into which the OP's doco would ideally fit? The chances of it being an ideal fit are probably remote, so in what ways could the OP angle the story and shoot his doco to make sure it would be an ideal fit?

The OP appears to have made a doco for himself, rather than for the commercial market. Monetisation would therefore now depend on self-distribution and finding and successfully marketing directly to a niche group of consumers along the lines Sweetie has mentioned. It isn't necessarily impossible to make a profit this way, it's just an awful lot of work/time for relatively little chance.

G

AudioPostExpert said:

................

I don't agree with this. The number of commercial documentaries made, bought, sold and distributed around the world, vastly exceeds the number of features..................

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You left the second sentence away, so you could disagree?

"And really 'selling' a documentary is even harder than a feature.
Not many get a real theatrical release where people go to see it and pay for it (outside of the festivals)."

This is NOT referring to docs on TV where viewers don't have to buy a ticket.
For TV most, the vast majority, of documentaries is funded upfront through whatever (film)funds and/or paid for by networks who want certain content (Discovery, History Channel, BBC all need their content). Even if nobody watches it, it is often already paid for. If it is really good: they can try to sell it abroad (like the Planet Earth series), monetizing it even more.

I should have phrased it 'selling it afterwards'.

WalterB said:

You left the second sentence away, so you could disagree?

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No, I left the second sentence so I could agree!! Did you post without reading what I wrote, just to argue?

WalterB said:

This is NOT referring to docs on TV where viewers don't have to buy a ticket.

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As this is a thread about commercialising a documentary and as hardly anyone one buys tickets to watch docos, I don't get the point you're trying to make.

WalterB said:

If it is really good: they can try to sell it abroad (like the Planet Earth series), monetizing it even more ... I should have phrased it 'selling it afterwards'.

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Yes, most docos are largely funded upfront but to an extent that's irrelevant. The BBC for example does not monetize anything from the primary screening, ALL the monetisation occurs after it's made and broadcast, from "selling it afterwards"! The BBC has a commercial arm, which employs around 5,000 people, solely to sell it's content to other broadcasters and they don't employ all those people just to sell Planet Earth, they sell just about all their content and they make about $1.5billion a year from it! Planet Earth is an exceptional example, which has probably raked in well over $100m since it was first aired, most of what they sell has substantially more modest returns. "BBC Worldwide also sells programmes and formats produced by more than 250 British independent producers."

The market the BBC is selling into, is obviously many, many times larger than just what the BBC earns from it and, many, many times larger than the market for theatrical docs. If we're talking about commercialising docos, what's the sense in ignoring the one commercial doco market which dwarfs all the others? Sure, the competition in TV doco making is fierce, as it is in all the categories of filmmaking but it's a massive market with plenty of potential opportunity. Providing of course you're actually making docos to TV broadcast requirements!

G

WalterB said:

AFAIK, gorilla started this project with monetising in mind.
Or am I mistaken?

If that is the case, maybe it is insightfull to know what problem you ran into, while you researched the market beforehand...

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You asked some great questions WalterB. In answer to this and a few others you asked:

Absolutely, created a business plan before anything was ever shot and posted it on IndieTalk. Lots of people on here commented on it and we started from the premise of audience identification. Specifically, we identified three, clear potential audience areas, are testing these at the moment using social media (which is helping to shape some of the elements within the doc to be more commercial) and believe these are the building blocks of eventual saleability to a potential distributor. Audience type '3' is the critical one (this is our internal definition of audience types who would give up their time to watch this).

What will interest a potential distributor? Well, the ability to sell advertising based on content is the primary driver within our market which is again, driven by both their existing potential audiences and our ability to bring them an audience which would fit within their advertising model. This is why we are currently analysing the information coming in from the teaser as some of the feedback from 'type 3s' has given us a steer.

The approach is systematic, statistically based, audience-focused and could be total garbage as this is our first attempt at commercialisation. Hence the question "What would you do?" Just have a look at the teaser and tell me: What would you do with this? https://www.youtube.com/watch?v=L5HALvW69uc

And yes, absolutely gutted to miss IDFA this year as was unable to go (shooting for clients on the 24th and 28th) and the start of our sales program is designed for next year's IDFA.

What I would certainly do is try to get media attention: online and offline.
To get that you can divide platforms by interest and disect your project to see what is interesting to what media?

Low hanging fruit is often local newspapers: if an inhabitant has an interesting story and you provide a well written pressrelease (including interview like quotes) that doesn't scream 'advertisement' it might be published. Or even get an interview invite.
The same goes for special events on specific locations.

Other topics are:
- being disabled
- racing
- empowerment
All of these subjects have magazines and blogs about them.
Because the combination of these three is not very common, I can imagine it can even be an interesting topic for talkshows (Oprah style shows like the empowering inspiration coming from people overcoming their problems) and broader interest magazines. (Especially if it already got some attention and response in niche media.)
If a part of the profit or turnaround goes to charity, you'll make media sharing your story look more sympathetic.

Don't forget you can also write to 'filmmaking' magazines and blogs if you have an insightful story about making the film and treating such a subject.

This is just the marketing part, btw, but it is essential to get 'awareness' about the documentary.
Make sure the pressrelease you send somewhere connects to their topics and audience. Writing to a magazine about disablement will be different from what you write to a motor racing magazine. (At least in the first sentences.)

I finally watched the teaser: I think it starts out too text heavy.
My suggestion would be to skip google and show the racing shot from 1:04 right after "live life to the fullest" cut to the wheel chair where she is with her kids while she says: "I.... to feel alive."
It sets the drama up in 10 seconds and 2 shots.
After that you can do the Googleshot from 0:46, because that is the question you created with the first 2 shots. Followed by the wheelchairs, the falling motorbike and her laughing.

And from there show some more, put in some drama and excitement, but keep it short.
You end with 3 times ROAR: 1 is enough.
The inspirational text is not centered, btw: looks a bit clumpsy.
(And I don't like the font, but that is personal I guess I'm not a graphic designer, but sans serif fonts look neater)

You don't have to make this teaser disappear: it looks like it got some attention already.
But I think it can be stronger, although you will have to try and find out my suggestions are any good.

PS.
If you are coming to IDFA next year, let me know!

WalterB said:

What I would certainly do is try to get media attention: online and offline.
To get that you can divide platforms by interest and disect your project to see what is interesting to what media?

Low hanging fruit is often local newspapers: if an inhabitant has an interesting story and you provide a well written pressrelease (including interview like quotes) that doesn't scream 'advertisement' it might be published. Or even get an interview invite.
The same goes for special events on specific locations.

Other topics are:
- being disabled
- racing
- empowerment
All of these subjects have magazines and blogs about them.
Because the combination of these three is not very common, I can imagine it can even be an interesting topic for talkshows (Oprah style shows like the empowering inspiration coming from people overcoming their problems) and broader interest magazines. (Especially if it already got some attention and response in niche media.)
If a part of the profit or turnaround goes to charity, you'll make media sharing your story look more sympathetic.

Don't forget you can also write to 'filmmaking' magazines and blogs if you have an insightful story about making the film and treating such a subject.

This is just the marketing part, btw, but it is essential to get 'awareness' about the documentary.
Make sure the pressrelease you send somewhere connects to their topics and audience. Writing to a magazine about disablement will be different from what you write to a motor racing magazine. (At least in the first sentences.)

I finally watched the teaser: I think it starts out too text heavy.
My suggestion would be to skip google and show the racing shot from 1:04 right after "live life to the fullest" cut to the wheel chair where she is with her kids while she says: "I.... to feel alive."
It sets the drama up in 10 seconds and 2 shots.
After that you can do the Googleshot from 0:46, because that is the question you created with the first 2 shots. Followed by the wheelchairs, the falling motorbike and her laughing.

And from there show some more, put in some drama and excitement, but keep it short.
You end with 3 times ROAR: 1 is enough.
The inspirational text is not centered, btw: looks a bit clumpsy.
(And I don't like the font, but that is personal I guess I'm not a graphic designer, but sans serif fonts look neater)

You don't have to make this teaser disappear: it looks like it got some attention already.
But I think it can be stronger, although you will have to try and find out my suggestions are any good.

PS.
If you are coming to IDFA next year, let me know!

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Now that's the kinda info we need! Great info