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the relationship and obtain the order, if even then. There would be far fewer wasted sales calls, and sales staff could focus their efforts on answering specific customer questions and creating new business, rather than on doing repetitive demonstrations.
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The vast majority of feature films made never get distributed and hence never find an audience. It is staggering to think that more films, by far, are made than the tiny number that are released and watched by paying customers. The reason this is the case is that the channels of distribution are so limited. The exhibitors, the people responsible for deciding what to screen, who depend on bottoms on seats for their revenues and profits, want to minimize their exposure to risk. What they ideally want is a name director and an all-star cast, telling a great story (preferably a sequel of a tried and tested box office smash hit), using lots of stunning special effects. Blockbusters are the staple diet. What chance does an independent filmmaker have of reaching an audience, particularly if the subject matter of the film is challenging or controversial Not even videocassette distribution guarantees an audience. It is a little-known fact that many of the larger video rental chains do not actually buy their stock. Rather, Hollywood studios place product in those stores, sharing the rental revenues with the video rental chain. Independent video rental chains cannot afford to waste shelf space on quirky, challenging films either. In the first place, they could fill the same shelf space with more well known or studio subsidized cassettes; in the second, they cannot afford to own a large stock of films which go in and out of fashion so frequently; finally, they have a greater chance of making a return from renting blockbusters supported by multimillion dollar marketing campaigns than they do from unknown filmmakers working on a shoestring. People like what they know. Marketing campaigns help people know particular films. With the advent of streaming media, sites like Atom Films have been established to create a portal for independent filmmakers to display their talents. Granted, the same problem of getting the audience to know about a film is ever present, but at least it is available to watch as an on-demand stream, should a viewer ever discover that the film even exists. The traditional film distribution bottleneck is bypassed. Today, with broadband penetration still relatively limited, the market for independent films is still not strong. However, as the quality of
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streaming improves, so the exposure of independent films to audiences will no doubt increase. Indeed, the most pioneering uses of the new streaming medium are likely to be found among independent film makers, who tend to push the envelope of any new medium s capabilities, taking advantage of its unique characteristics and properties. Already some filmmakers have dispensed with film altogether and are shooting, editing, and post-producing their creations using digital cameras and editing systems. Digital distribution via streaming is a natural extension of this burgeoning digital filmmaking workflow. It must be remembered that streaming media allows immersive interactivity, as in three-dimensional computer game play and the use of some media types to support story telling with another. One of the cleverest uses of digital multimedia in recent times was the marketing hype created on the Web for The Blair Witch Project film. Here, the filmmakers used the Web to create an illusion about the making of the film, which tended to make the audience see it as more documentary than fiction, thus enhancing the film s ability to affect the audience s emotional response to the film. The Web hype made the film seem more frightening and horrifying. As a consequence, the film did very well and made much more money than it cost to produce. Hollywood got a blockbuster for a bargain price. Although streaming played very little part in this film s success, expect to see novel uses of multiple streaming media types in the promotion of future films and to enhance the audience s emotional response. Filmmaking will become more of a multimedia authoring craft, rather than limiting itself to traditional filmmaking techniques and visual grammar. Streaming media changes all the rules.
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