G+_Joseph Cappellino Posted March 2, 2013 Share Posted March 2, 2013 My rejected write-up to Frame Rate show about the problem with DRM-free: (edited version to comply with G+) -------- Recently, an example of how a film that was to be distributed over traditional media got shot down by being officially released first DRM free, and then subsequently pirated. The film in question is (pardon the subject for a moment) the BronyCon Documentary made by John De Lancie. It was successfully funded the sum of over $320,000 over Kickstarter by the fandom in question. The film was initially released internationally for purchase at $12 DRM free at the film's site and not long after that, it appeared on the site the RIAA and the MPAA hate, the Pirate Bay. There has been a personal plea from John De Lancie to the fandom to not pirate the film, Despite this, it was posted to YouTube shortly after. The production then tried to sue and claim damages on the YouTube posting: http://www.reddit.com/r/mylittlepony/comments/16xr0c/bronydoc_threatens_youtube_pirate_with_legal/ Now, due to "piracy," The production of further features and extras has been shut down according to the production's Kickstarter: https://www.kickstarter.com/projects/257527888/bronycon-the-documentary/posts/400952 Specifically, the production blames the fandom "Because the piracy within the Brony community is rampant and pervasive we've come to the conclusion that investing any more time and energy would be not be worthwhile." They're placing the blame on the same people that supported them, just like traditional media. And it's not just the fandom, piracy is going to happen no matter who's committing it. The primary reason this came to be was because they were using a traditional business model, going through traditional means, but unfortunately embraced new media too early to get enough deals done in time. Had the situation been reversed (releasing it in a film festival and Blu-ray first, with the DRM free copy 1 month after BD release) things would be slightly different. For one, the deals would have been made properly and there would have been sales from the Blu-ray, then the DRM free copy would be released for those abiding by the DMCA and not ripping the Blu-ray. This shows that the means of production have to either be focused directly on a digital release or a traditional release. Not both at the same time. If a indie film that isn't getting a traditional release because they know that they won't get the deal, then a DRM free release is more plausible. However, if you're going through traditional media production means, you gotta still please the people you're making deals with and the film festivals you're submitting to. By releasing DRM free without making deals, they are more than likely to be shot in the foot. TL;DR: If a traditional media model is what you're producing to, delay any new media plans until you have the deals. If you start with new media releases (DRM free) and you're still revving the traditional media train to get deals, you'll crash and burn. -------- This never got mentioned on the show, and I spent all my energy in creating this write-up, so may as well post it here. Either that or it got caught in a spam filter. Link to comment Share on other sites More sharing options...
G+_Andrew Boyter Posted March 4, 2013 Share Posted March 4, 2013 It's an interesting story, but it seems as though their main issue is the same one that plagues many documentaries and their filmmakers: subject matter without broad appeal. A strong community (which this film obviously had or it wouldn't have funded on Kickstarter) is great, but nothing will be a popular success that doesn't have popular appeal. On a side note, you're much more likely to get mention on Twit if your comments are in the range of one, maybe two paragraphs. If it's the length of a blog post it will be too long for a time constrained show. This, however, is the perfect venue for your post. Link to comment Share on other sites More sharing options...
G+_Jack Zhang Posted March 4, 2013 Share Posted March 4, 2013 Andrew Boyter Agreed that this is a better venue for this discussion. The subject of the doc was entirely based around a single convention. The production crew did not try to go to other conventions and just pooled resources on one convention. And if they did become strict and not release on the internet before all traditional deals have been satisfied, the piracy wouldn't have ruined the further production of the film. Link to comment Share on other sites More sharing options...
G+_Andrew Boyter Posted March 4, 2013 Share Posted March 4, 2013 I see what you're saying: the lack of revenue hindered further development. if Lou Gagliardi is right and Netflix comes through, it could rejuvenate the project. Netflix is huge for documentaries. I've don't have much experience with the Brony phenomenon, but I like documentaries and a well produced one is always fun. If it hits Netflix I'll check it out. Link to comment Share on other sites More sharing options...
G+_Dale Moore Posted March 7, 2013 Share Posted March 7, 2013 It seems like the really only went half in with going drm-free. Regardless of the old media/new media style release, you have to accept that stuff will be pirated. It wasn't pirated because it was released drm-free, it was pirated because it was released. Second, you can't put something out, act all gracious and decide to not put drm on it, then scream and get butthurt when it gets pirated. That's part of the deal, it's going to happen. The way you recoup sales is by being gracious to your audience. Ask them to pay, don't tell them to pay. Thirdly, you simply CANT look at pirated numbers and think that is lost revenue. The overall vast majority of pirates would not have paid to see if, even if somehow piracy didn't exist. This whole situation is someone trying to hedge their bets... Get new media buzz with old media money. You can't do it. ? Link to comment Share on other sites More sharing options...
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