My name is Chad Miller I have been working in the entertainment industry for more than 15 years. For the past baker's dozen of those years my career has been specifically focused on the business of on-demand entertainment. Back in 2002 cable companies were just beginning to explore the possibilities of "on-demand" entertainment. In fact, primarily content was available on a Pay-Per-View basis with customers being forced to press 'play' at a very specific time when the next available version of whatever they might want to watch would be made available. At iN Demand I helped schedule the content for availability, trying to squeeze in as many opportunities for customers to watch popular movies as the system would allow. For instance, if SPIDER-MAN (2002) has a run-time of 2 hours and 1 minute and iN Demand was willing to dedicate 4 different PPV channels to offering that film, my job was to work with the system administrators to schedule it as many times as possible. It was an infuriating experience for customers who could not pause the content and had to sit-down in front of their televisions (and only televisions) at a very specific time, pre-determined by yours truly. Thankfully the true promise of an on-demand business landscape soon emerged and I joined the team at AT&T U-verse where I helped that product from it's conception with just 32,000 test subscribers in Texas to a point six years later when the service was available nationwide and had nearly 4 million active subscribers. At AT&T I worked with all of the major studios ensuring that both their big tentpole titles were available to customers and also helped evaluate new content from new content aggregators and distributors. Which is how, after six years with AT&T, I found myself joining a small, independent distribution company called Gravitas Ventures. I was their 5th employee and during the time I was with their team it grew to more than 20 employees and was twice listed on Inc Magazine's "Fastest Growing Companies". That's a metric based largely on revenues, not employees. At Gravitas I was the person that sought out content for distribution at film festivals and also simply through referrals from executives at Amazon, Hulu and Netflix. Presently I am an independent consultant providing distribution strategy advice to a wide range of people, from independent content creators, to established production companies looking to re-evaluate their distribution process, to encoding vendors who are seeking to bridge the gap between content creators and the platforms where customers are going. Full Bio »
In today's world of independent filmmaking, the VOD, SVOD & AVOD distribution strategy becomes a stronger option for many filmmakers. We've brought in 15 year executive Chad Miller who has worked with hundreds of filmmakers on their distribution strategy through his working relationship with platforms such as Amazon, Hulu, Netflix and iTunes to teach for Stage 32 Next Level Education.
In this exclusive webinar, Chad will break down the very important topic of how to window the release of your film. Making sure that you are going to market during the most opportune time is key to a successful distribution strategy. Chad will give you an overview of VOD, SVOD & AVOD and explain the evolution of windowing strategies and why & when it makes sense to break with the traditional windowing strategies. He'll also go over the revenue expectations, deal strategy basics and give you a comprehensive look so you are prepared when it's time to release your film.
Windowing The Release of Your Film: VOD, SVOD & AVOD Strategy Intelligence
In this primary section we will discuss what a “Window” means in the world of distribution, and why you should care as a customer and as a potential content creator.
Explain the differences between VOD/TVOD, SVOD and AVOD
Subscription Video-On-Demand (examples of primary SVOD platforms & new upstarts)
Advertising Supported Video-On-Demand (examples & how this is different from television)
Briefly discuss variances of the way each title is presented within each window.
Explain the evolution of Windowing Strategies
Illustrate why & when it makes sense to break with the traditional windowing strategies.
See what other creatives have to say about Chad's previous webinar!
"Thank you for a seminar packed with useful information to help us move forward with our projects and for giving us actionable items." - Susan S.
The ultimate goal for every filmmaker is to ensure that audiences see your film. You may want recognition, notoriety, or maybe as many “likes” as possible however, from a practical business perspective, you also want to make your investor's money back – or, even better, to make a profit. The path to reaching this sometimes-elusive-outcome is through the distribution process. And, in today's changing distribution landscape there are many different types of offers that can be presented to you as a filmmaker. Truthfully, understanding what you're signing up for with your film's distribution can be downright confusing. Getting a distribution deal for your film is exciting for you as a filmmaker. You've reached the holy grail and a distributor is interested in releasing your film so you can finally reach an audience. But, before you sign on the dotted line there are many factors you need to think of. Distribution contracts can show varying types of clauses that could potentially harm your film's chance at making a profit. And, let's face it, if you can show your investors a profit on their investment, they'll likely want to invest in more films with you at the healm. So, how do you know what clauses to look out for and what you can negotiate so you give yourself the best chance of not only gaining an audience, but also getting pad? For the last 15 years Bryce C. Campbell is one of the leading distribution and marketing executives in the industry who's overseen the distribution of several Oscar-winning films. Bryce got his start working at Miramax Films and Open Road Films and has worked on hundreds of independent films securing distribution and negotiating contracts. He especially excels in the digital distribution arena. Bryce is heavily involved in the post production aspect of filmmaking working collaboratively with the marketing team to provide data-driven insights on a wide range of marketing components such as one-sheets, trailers, and special events. One of his key interests is negotiating distribution deals with filmmakers and leveraging industry analytics to provide insight into box office potential for each project. And, he's bringing all these years of knowledge to Stage 32. Bryce will help you understand the different types of distribution options available to you in terms of theatrical, SVOD, Day and Date, Foreign and Digital. He'll help you manage realistic expectations when considering the potential for each of these with your film. You will learn how to design your budget and casting in harmony with distribution goals. Then will take you through the anatomy a distribution contract and analyze contract clauses for optimal benefit and to avoid pitfalls. You will learn how to apply this knowledge to negotiate the best possible distribution contract for your film. And, most importantly, Bryce will give you 2 real distribution deal contracts to review so you can understand what to look for and how to apply that to your own deal! "Mind blown. The examples are extremely helpful. I had no idea that recognizing some of the clever way things are written in the contract could potentially harm my chance to make money back on my film." - Mike S.
Over recent years, the independent producing model has shown that films budgeted between $1-$3 Million have become a "sweet spot" for investors. At this budget you can typically attract and secure some star power, one important step toward increasing the odds that your investors will see a return on their investment. But this is just one reason why this budget range is attractive to many investors. There are many more variables at play which will help you raise money for a film or project in this price range. But first, you must understand some tried and true principles that will help you find investors, present your project in the proper fashion and lock them down for an investment. Knowing how to raise money intelligently for films and projects with budgets between $1MM-$3MM can be your calling card toward making a life working in independent film. Simply put, those who understand the formula to the strategies and methods that can help your investors see a return get to keep those investors time and time again. And those investors can, and usually do, bring more investors if they're happy. While everyone says that raising financing is the hardest aspect of filmmaking, there are smart ways to find money that you may not have thought of, and there are also ways you can expand your dollars once you start raising funds for your project. In addition, there is a well-known group of professionals and creatives that have been working on films between $1-$3MM for years and it's important that you know who they are, how to approach them and what expectations are once you do. Brad Hibbs Wyman has produced over 40 feature films in all budget ranges, including Monster starring Charlize Theron in her Oscar-winning role, Freeway starring Oscar-winner Reese Witherspoon and actor Steve Buscemi's directorial debut, Trees Lounge. Brad has learned all aspects of financing and the elements that are needed for a successful raise and he's going to bring his years of knowledge exclusively to the Stage 32 community. Brad will teach the basic principles of motion picture financing for under $3 million dollar features which include: Rule #1 - “GET THE MONEY" Rule #2 - Always remember to “GET THE MONEY” Rule #3 - Never forget to always remember to “GET THE MONEY" If that gives you the insight into Brad's fun personality, then you're in for a treat with this webinar. Brad will teach you the common obstacles that get in the way of raising financing. He'll go over all the various types of financing: equity, private equity, pre-sales, GAP, tax incentives, deferred and crowdfunding. In addition, he'll go in depth on guidelines for your financial package and what you'll need for tax incentives, pre-sales, debt and domestic MG. He'll even go over your plan of execution including your investment proposal and what it looks like, completion and guarantor bonds and pitching your project. You will not only know the basics of how to smartly raise up to $3MM, but you'll also walk away with knowing the names of the players and the companies that are in this landscape, giving you an instant advantage to becoming an insider. And if that doesn't make you feel great enough, Brad’s proceeds from this exclusive Stage 32 webinar will be donated to his favorite arts charity! "Brad was great. I loved his style and how frank he was. Really appreciate his demeanor." - Robert G. "It was one of the most amazing experiences. The most entertaining and true presenter I have ever come across." - Ranadeep B. "Awesome experience - great learning opportunity and very well organized. I look forward to more." - Brien Gorham "Brad brought the goods and the funny. And he removed my initimidation factor when it comes to approaching investors. Great webinar!" - Alyssa K.
Today, more than ever, self tape auditions are an integral part of the casting process. This is even more true in the age of social distancing. Additionally, due to the convenience self tapes provide and tight deadlines casting directors often operate under, more roles are cast via self tape auditions than ever before. Understanding how to set up, craft, and shoot a self tape can be the difference between landing more roles or having your talents fall by the wayside. When a casting director requests and accepts self tapes to assist in their casting process, they inevitably wind up with tapes of varying quality and content. Whether it's picture quality or sound quality fails, a bad self tape immediately gets bypassed. Actors often think that their talent will always win the day. In a room, that might be true. But on a self tape, quality matters. Fortunately, there are some very simple, but comprehensive steps you can take that will make a massive difference in what you present to a casting director. The goal is to keep the attention off cosmetic or sound flaws and on your acting, where it belongs! Marin Hope, CSA is a Los Angeles native and LA-based casting director, who won the 2020 Artios Award for Casting. Marin works alongside Heidi Levitt, casting film, television, commercial, theatre and New Media projects. Some casting credits include HBO's BESSIE starring Queen Latifah, Mo’Nique, Michael K. Williams and Mike Epps, AMERICAN MADE, starring Tom Cruise and Domhnall Gleeson, COMPLETE UNKNOWN, starring Michael Shannon and Rachel Weisz, HOMELAND, starring Claire Danes, THE LAST WORD, starring Shirley MacLaine and Amanda Seyfried, KINGS, starring Halle Berry and Daniel Craig, Bad Samaritan starring David Tennant and Robert Sheehan, WHO WILL WRITE OUR HISTORY, starring Joan Allen and Adrien Brody, and most recently MOLLY, Javier Bardem, Elle Fanning, Chris Rock, Laura Linney and Salma Hayek, which is currently in post-production. Over her storied career she has seen thousands of auditions and hundreds of casting self-tapes and she's back here exclusively on Stage 32 to impart her wisdom on what can help you get a leg up on the competition when it comes to your self tape. Marin will talk about the need for self-tapes and why they are an essential part of today's casting process. You'll get insight as to why some jobs rely on it vs. others who require in-person auditions. She will go over your question on whether or not you should use a self-tape facility or film from home. When it comes to shooting at home, you will learn background, lighting, angles, wardrobe choices and equipment you will need, as well as whether or not you should film horizontal or portrait. Finally, Karen will teach you the do's and don'ts of a self-tape and share with you examples of good and bad auditions. You will learn all of this from an esteemed casting director's perspective which will give you the unique insight into how your own self-tape is viewed. PLUS! Marin will share with you: Videos clips of do's and dont's for casting videos A resource sheet of tools and equipment that can help you with the look of your casting tape Praise for Marin's Stage 32 Webinar: "I thought I was just going to revisit what I already know about self-taping but Marin brought forth valuable new information." -Michele C. "I think Marin's webinar is excellent and covered everything that an actor would want or need. I like her no nonsense approach. Takes a lot of the fear factor away." -Sondra C. "The information was informative, Marin gave a lot information that is extremely invaluable to me in this industry and I look forward to many more webinars with Stage32 because of this." -Michael C. "Well, done. I have made it into several movies and missed getting into others. There are several things I learned which I will incorporate in future auditions." -Kenneth W.
If there's one subject that seems to confound and confuse filmmakers, producers, screenwriters, financiers and even set designers more than any other, it's the world of product placement. Can you raise meaningful money through product placement? What products can I put in my film or screenplay and which should be avoided? What are the legalities when dealing with product placement? These are all very valid and important questions. Those who understand the way the product placement industry (and it is an industry unto itself) works use this aspect of the production process to raise significant funds and stay on the north side of any potential legal issues. Those who fail to understand often have difficulties with clearances (and by virtue, issues securing sales and distribution) and may find themselves on the south side of some major lawsuits that include claims copyright infringement, misuse, and other serious charges. While the world of product placement was once considered to be an unregulated wild west of backroom deals and shady characters, it is now developed into an extremely controlled and accessible industry. Choosing a partner in this arena can lead to monetary deals that can help you close the rest of your financing. It can also help you fund parts of your pre-production phase. But most of all, it can lead to creative flexibility for your screenwriter, your director, your producer, your set designer, and even your crew. Over a 20+ year career in the film industry, David Patterson has worked as a writer, director and producer on dozens of projects. His films have played at Sundance and other prestigious film festivals which have garnered him sales to distribution outlets and various networks including Sundance Channel, Starz Channel and Warner Bros. David's work attracted the attention of Disney and his Bridge To Terabithia, was a huge studio release and box office success for the studio. More recently, David’s film, The Great Gilly Hopkins, starring Glenn Close, Octavia Spencer, Kathy Bates and Julia Stiles opened theatrically to rave reviews. Throughout this journey he has always used product placement to help with the success of each of his films. David will demystify and clearly explain the world of product placement and how you can best utilize a product placement strategy for your project. He will start by defining product placement - it may surprise you to know there are over 12 answers! He will then dive into how you can use just about everything to help you with product placement from your script, to your cast and crew to your producers to locations to utilizing your actors. He will teach you how to secure product placement - where to look, how to approach, how to close a deal. He will show you how the legalities of product placement for film festivals and commercial release differ and what you need to have buttoned up. He will explain E & O insurance and if you truly need it at all. He will also go into all the mistakes filmmakers make along the way and share some horror stories from filmmaker/producer friends and how you can avoid making the same mistakes - mistakes that can cost you money, time, endorsements and put you into legal peril. Additionally, David will teach you all the tips and tricks he's learned along the way to get the most out of your product placement strategies and build relationships with the right companies and brands so you can go back to the well time and time again! "Brilliant." - Jonathan C. "I was so unfamiliar with this world. Incredible breakdown of what and what not to do. This one truly opened my eyes. Can't recommend it enough." - Heather P. "David, where have you been my entire producing life?" - Priya R. "I don't throw this word around often, but this webinar was genius." - Alan L.
You have an idea for a screenplay. Something burning inside of you to get on the page. Or perhaps you have a screenplay (or 20) sitting in your desk draw in need of a home. Of course you know to make sure that material is primed, ready, and locked and loaded to give yourself the best chance of being read from FADE IN to FADE OUT. But you also need to make sure it's market ready. And further still, you'll want to identify where the best home is for this material and how to pitch them in a manner in which gives you the best shot to be optioned or sold. Most writers understand that taking your idea from a good concept to an excellent screenplay takes many rewrites and much polishing. In today's ultra-competitive landscape, it's more important than ever to fully flesh out your characters, locales, and plot. But thinking about the business side of things as it relates to your screenplay - understanding budget constraints, for example - is something that can give you power in a room. But first you need to get in that room. And to do that, you need to identify the proper (and realistic) homes for your material and understand what they are looking for. Further, you'll need to craft an effective pitch which may just change from one production company (or producer, financier or rep) to another. Rachel Crouch is the Director of Development for Cold Iron Pictures, Miranda Bailey's financing and production company. She's worked on films such as Sundance's Swiss Army Man starring Daniel Radcliffe and Paul Dano, the Independent Spirt Award-winning The Diary of a Teenage Girl, Don't Think Twice starring Keegan-Michael Key and Gillian Jacobs, Norma staring Richard Gere and Steve Buscemi and many more. Prior to Cold Iron Pictures she worked as a producer's assistant raising film financing and helping bring films into production. Rachel will take her experience on over a dozen films and give you a behind-the-scenes look at what production companies look for when considering material. Rachel will teach you how to develop your idea from a good concept to a strong story that will grab the attention of financiers and production companies. She'll help you break down your story to figure out your project's main audience and lead you through the tropes you'll want to exploit in order to leave that audience satisfied. You'll find out how to determine your story's budget range and see how letting go of those HBO dreams might help you find a better home for your project. She'll teach you how to hone your pitch including information you must include when pitching production companies. She'll even discuss rejection and finding the power within so that your next pitch is even better and more productive than the last. In short, Rachel will put you in a position to get the read, get in the room, and get the sale or job! "I appreciate Rachel's openness and willingness to share her knowledge and experience with us." - Susan S. "Very practical advice that I can apply right away." - Brian G. "I thought it was very professional and informative." - Chris R.
As a director, one of your most important jobs is eliciting great performances from actors. Fail at that, and your film or series could crumble under the weight of bad acting. Although the best directors shape performances with a deftness that may seem effortless, it is not. In fact, becoming a great director of actors is hard work and takes years of disciplined practice. Like playing a violin, it is a skill that must be nurtured. But there is a place to start: Set the goal of becoming an “actor’s director.” You’ve heard the term before, but what does it really mean? Why does it matter? And how can you become one? An actor’s director is simply a director who respects actors, can read their wants and needs, understands the craft of acting, and knows how to optimize an actor’s performance with simple, short directions (or no apparent direction at all). While actors routinely compliment directors by bestowing this title upon them, becoming an actor’s director means far more than earning the respect of those in front of the camera. In truth, the best directors are actor’s directors by definition. The temperament and skillset of an actor’s director yields superior performances, and it leads to more fulfilling actor-director relationships. By studying the strategies, attitudes, knowledge base and habits of actor’s directors, you too will be on the path to better performances in your own films and series. And, who better to know what it takes to become an actor's director than Matthew McConaughey's teaching partner at University of Texas, Scott Rice. Scott is an Emmy Award-winning director who has worked directed projects for Sony Pictures, A&E, MTV Networks and more. His films have been distributed by Hulu, Showtime, Comedy Central and PBS. After studying under world-renowned film scholar David Bordwell, Scott began his career as a 3D animator and art director for Activision. He scripted the groundbreaking hit game SOLDIER OF FORTUNE and has since written on assignment for Elizabeth Avellan (SPY KIDS) among others. Scott is also an ADDY award winner for his commercial work. His national commercial clients include Shell, Las Vegas, MasterCard and Sears. As Scott explores how to become an “actor’s director,” he will share a volume of best practices and wisdom born of a rich 25-year career. Scott will begin by explaining what it means to be an “actor’s director” in general and will go over what you need to be familiar with ahead of time in order to be one yourself, including a basic rundown of the craft and challenges of acting and how to use empathy. He’ll illustrate what a strong actor-director collaboration looks like, how to harness the power of ‘yes’, and how to correctly ‘watch’ a performance while on set. Next Scott will delve into how best to prepare before production, including navigating scene work, the read-through and rehearsal process, dealing with shot listing, and creating a schedule while keeping your actors’ needs in mind. He’ll also discuss how best to handle walkthroughs and blocking and when to use stand-ins. Then Scott will teach you the best ways to interact with actors on set, including how to meet with them ahead of time, and how to hold yourself and speak while on set. He’ll spend time talking about the casting process and ways to serve as an “actor’s director” while auditioning and interviewing talent. Scott will then offer tips on how to work with non-actors, including children and animals, and share Steven Spielberg’s techniques for these challenges and how to use improvisation. He will delve into strategies for solving problems that occur on set, including how to identify a weak performance, getting out of a ‘black hole’, when to move on and circle back, and how to decide what you really need to move forward. Scott will share 8 things you should avoid while on set in order to be a better “actor’s director”. In the end, Scott will leave you with a thorough understanding of what it means to be an actor’s director and, more importantly, provide actionable advice for how to become one yourself. Scott will accompany his presentation with exclusive material from his nationally recognized film course which goes behind the scenes of Oscar-winning actor Matthew McConaughey’s latest films. Scott will illustrate successful actor-director relationships through anecdotes from McConaughey and notorious directors including Gary Ross (THE HUNGER GAMES), Jeff Nichols (LOVING), and Harmony Korine (SPRING BREAKERS). Praise for Scott's Stage 32 Webinar "Scott was a great choice for an instructor. Very knowledgeable and a good teacher" -Blake N. "Scott was a fabulous presenter. He definitely brought his A-game today. Thanks, Scott!" -Paul T. "It was terrific. Great instructor. I loved his insights and recommendations. He clearly stays on top of his profession and is always learning." -Crystal B. "Just what I needed to hear" -James G. "Great. I have been an actor for a long time. Loved Scott's approach to working with actors. Spot on" - Shelagh M.