Mainstream media and major film distributors don’t speak “Crowd.” They just don’t seem to get it.
Crowd sourcing and crowd funding, by nature are not mainstream and Netizens happily communicate in their own language and with their own peeps.
Two filmmakers, Karl-Martin Pold and Sarah Noeringberg, are soliciting donations at StartNext online for their documentary, A Man Called Spencer; about the famous Italian actor, Bud Spencer, who is most known for his spaghetti westerns.
When the Italian press got wind of it, one of the newspapers released a misguided story claiming that Spencer was poor and was trying to raise money to support himself. Really?
In the cafe culture of creatives around the world who are familiar with the subject and meaning of crowd sourcing and its counterpart, crowd funding, the subject is still hot. They understand it and are embracing it by the thousands.
To clarify for those who may not yet have entered this democratized medium, crowd sourcing is a way to engage the talented citizens of the Internet in the creative aspects or other elements of a project, i.e., the script, music, effects shots, titles, trailers, etc.
A subset of crowd sourcing is crowd funding, a platform that enables filmmakers or other creatives to solicit monetary donations for their projects.
Perhaps one of the earliest films to appear online for free download was Star Wreck, released in 1997. It was 45 minutes long and message boards caught on fire. The phenomenon had begun.
The same team released one of the first collaborative films to crossover into the mainstream press and become well known, Star Wreck: In the Pirkinning. It was launched in 2000 by maverick filmmakers (five students and several unemployed friends from Tampere) with little money, lots of idealism and their own home computers.
The blue screen used behind many of the scenes of the film, was a piece of linoleum painted with blue chroma key paint and their equipment may not have been the most exotic, but they worked together to make their movie and found themselves in the post production process by 2004, much of which was completed in their homes. (This is a picture of creator and producer Samuli Torssonen’s kitchen that housed the render farm.)
Star Wreck: In the Pirkinning was released online on October 1, 2005, and within four days had over 400,000 downloads. It was subsequently shown on TV in Finland, Sweden and Norway and the DVD came out in the UK on April 4, 2009.
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YouTube is still trying to figure out how to link up with Hollywood. Maybe Alex Carloss will help.
Until last week, Carloss was head of digital distribution at Viacom’s Paramount. Now he’s a Google employee, working on YouTube’s content acquisition team. [UPDATE: Readers tell me Carloss left Paramount last fall.]
He’ll work with Robert Kyncl, the Netflix veteran Google hired last year to figure out its strategy for working with Hollywood and other professional content-makers, which have yet to give the giant site all the video it wants.
A Google rep confirmed the hire; I’ve asked Paramount about their plans to replace Carloss, who had been at the company for six years. He’d previously worked at MGM, RealNetworks, Electronic Arts, Warner Bros, and Disney.
After Google brought Kyncl on last fall, I assumed he would follow the script he’d used at Netflix, and start writing huge checks to the studios in order to get their movies and TV shows on the site. But while Google did buy the digital rights for the Miramax catalog last fall–I’m told the company paid out about $100 million for that deal–so far that seems to be an outlier.
Google/YouTube/Kyncl have been reaching out to content-makers in other ways, though. As New York magazine reported last month, the site has been talking to Hollywood talent about creating cable tv-style “channels” for the site. The basic idea: Famous people would help create and curate content for the site, and share ad revenue.
While that doesn’t sound nearly as sexy as, say, locking up the Warner Bros. catalog for a YouTube exclusive, there is a logic there. YouTube is already striking up partnerships with lots of people you’ve previously never heard of, and making mini-stars out of several of them. And the main reason the company is set to buy Next New Networks is that it likes some of that startup’s acumen in building out new video franchises.
And while Google has denied a report that it was looking to create a Netflix-style streaming service in the U.K., I wouldn’t be surprised if it did spend money to procure content outside the U.S.. It’s already begun making noises about buying the rights to American sports leagues for streaming deals in other countries–the Web video market outside the U.S. isn’t nearly as established, or as expensive, as it’s become in this country.
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