1
Q
What are some types of cinema events?
A
Award events / Film Season or Series / Film Society / Film Festival
2
Q
Who produces / organises cinema events?
A
Association / Limited Company / Charity or Foundation
3
Q
What are the potential benefits of having partnerships for a cinema event?
A
- Add credibility
- Funding
- Get extra information & advice that you don’t already have on your team
- in kind support
- Access to particular niche audiences
4
Q
What types of partners are there?
A
- Government and European Institutions
- Local Authorities
- Cultural institutes
- Venues
- Educational Establishments
- Community and voluntary sectors
- Charities
- Film Societies
- Film Commissions
- Press
- Broadcasters
- Retailers
…
5
Q
What kind of Film Festival Programmes are there?
A
- Festivals based on genre
- Festivals focused on a particular country or area in the world
- Festivals which take place with the location / city as a focal point
6
Q
What activities take place in order to organise a film festival?
A
- Planning Circle - Timing
- Scheduling & Booking (Relationship with distributors. filmmakers and talents)
- Print research
- Rights Holders Research
- Staffing
- Venues and licenses
- Insurance
- Touring
7
Q
What are some technical considerations for a film festival?
A
- Projection facilities and formats
- Aspect ratios
- Archive prints
- Silent films
- Digital projectors
- auditorium facilities
- storage of films
- print transportation
- outdoor screenings
8
Q
Why are Q&A’s important at film festivals?
A
- connection between filmmakers and audience
- attracting the audience
9
Q
What are some marketing objectives for a cinema event?
A
- To achieve X number of attendants (at least 50%)
- To achieve X result of press coverage, including paper, tv and web
- Providing a better understanding of a specific film culture (example: Spanish cinema)
-Attract first time attendees
10
Q
How do you brand a cinema event?
A
- The nature and ethos of the event (through logo and publicity material)
- Ensure every element of the marketing campaign reflects the brand and reinforce awareness (also educational, programme materials, staff-shirts, badges)
11
Q
How do you manage a cinema event’s campaign?
A
- set objectives
- Identify market segments / target audience
- work out lead times and deadlines involving all parties
- budget the campaign
- select methods of promotion (print, website, social media, advertising, direct mail, press plan)
- Organise distribution of printed materials
- monitor campaign’s success
12
Q
What are some examples of publicity materials?
A
- Brochure / Leaflet / Catalogue
- Images
- Design issues
13
Q
What do you need to give the press?
A
- good quality materials (images, clips, graphic works)
- Deadlines according to journalist’s needs (monthly, weekly, daily)
- Exclusive interviews
- press launch - press conference
- direct mail
- advertising
14
Q
What are some examples of cinema events that are not film festivals?
A
- Academy Awards (Oscars)
- British Academy of Film and Television Arts (BAFTA)
- The Céesar Award
- David di Dinatello awards
15
Q
What are different types of festivals?
A
- International Film Festival
- National Film Festival
- Genre-Specific Film festival
- Short Film Festivals
- Student Film Festivals
- Children’s and Youth Film festivals
- Environmental Film festivals
- Experimental and Avant-Garde Film Festival
- Regional and Local
- Virtual and Online
16
Q
Which are the BIG FIVE film festivals?
A
- Cannes
- Berlin
- Venice
- Toronto
- Sundance
17
Q
What are some benefits of cinema events?
A
- Exposure and Networking
- Critical Feedback and Validation
- Marketability and Distribution
- Cultural Exchange and Diversity
- Artistic Innovation and Experimentation
- Community Engagement ( a sense of community around cinema)
- Economic impact (attracting visitors, creation of jobs, support of local businesses)
18
Q
What is the significance of cinema events?
A
- Cinema Events and Film Festivals contribute to the continued growth and evolution of the film industry
- The adapt constantly to the changing landscape of cinema remaining a vital and dynamic force in the world of film
19
Q
When was the first edition of the Venice Film Festival?
A
- 1932
- at the time, cinema was 37 years old
- in the same year the book “Film all Kunst” was published by Rudolf Arnheim
20
Q
When was the first live television?
A
1962
21
Q
Who finances the Venice Film Festival?
A
- The Ministry of Culture
- In 2023, a significant portion was provided by the government with funding provided for the national Plan Complementary to the PNRR (National Recovery and Resilience Plan) for the redevelopment of the historic structures of the Lido of Venice
22
Q
What is the main headquarters of the Venice Film festival?
A
- Palazzo del Cinema
- It was built in record time and was inaugurated in 1937 for the 5th edition of the festival
23
Q
What are the objectives of the Rome Film Festival?
A
- the promotion of culture and italianness, the involvement of differentt audiences and young people, artistic innovation, environmental and economic sustainability
- Rome Film Festival was founded in 2006
24
Q
What is FIAPF?
A
International Federation of Film Producers Associations (created in 1933)
- It is one of the oldest trade organisations in the film and tv sector.
- Mandate: represent the economic, legal and regulatory interests common to film and TV production industries in all continents
- FIAPF publishes on a regular basis its Directory of Accredited Film Festivals, which sheds light on the latest statistics provided by the FIAPF festivals community.
- These figures give industry stakeholders a useful overview to define their distribution and promotion strategy. They also illustrate the hard work done by festivals to present, promote and defend films.
25
What does a music supervisor do?
- Spotting Screenplay
- Research and Music selection
- Negotiation of Rights
- Working on recordings
A music supervisor oversees all the music of an audiovisual project from the early screenplay to the final mix
26
What does "spotting a screenplay" mean?
- **Identifying musical needs** **(diegetic):** a character singing a song, a dancing scene in a disco, a live performance band ...
- **Initial Conceptualisation:** the music supervisor begins to conceptualise the overall musical approach for the film. This may involve the use of existing songs, the creation of an original score or a combination of both
- **Budgetary considerations:** The Music Supervisorprovides insights into potential costs associated with licensing existing music or commissioning original compositions
27
How do you research and select music?
- **Through exploration**: conduction research to identify musical tracks that align with the intednded tone an context of the film.
- **Original vs Existing Compositions**: depending on the film's requirements, the Music Supervisor may decide etween existing compositions or collaborate eith composers or both of them. This decision is influenced by factors such as budget constraints, thematic coherence and the unique demands of the film
- **Cultural sensetivity**: Recognising the importance of cultural nuances, the Music Supervisor navigates various musical landscapes to ensure that the chosen soundtracks resonate with the film's story
28
What does negotiating rights as a music supervisor include?
- **Clearence and licensing:** The Music supervisor contacts the right holders, typically the music publisher and record labels, to obtain all authorisations in order to use that particular music in the project. This involves negotiating the terms , including the scope of usage, duration and territory.
- **Budget Negotiation:** According to the films' music budget, the Music Supervisor negotiates the licencing fees that usually depend on factors such as the popularity of the song or the performing artist, the prominence of its placement in the film and the overall budget of the project
- **Rights clearence**: in order to synchronise a song with images, it is necessary to get the permission from both the copyright holder of the song (songwriter or publisher + record label)
- **Contractual Agreements:** The music supervisor drafts and finalises contracts that outline the terms of the licensing agreement, including payment details, usage restrictions and any other relevant terms
29
What does working on recordings entail?
- Sometimes, music recordings are necessary on set (in a scene where a band plays, for example)
- There might be original songs in the movie
- As a music supervisor, you collaborate with and assist the composer for the original music score
- You're managing the budget of the recordings
- Clearence and paperwork: ensuring all necessary paperwork and contracts are in order, before starting all recordings
30
What are repertoire songs?
- Pre-existing music
- Can have a strong familiarity for the audience
- diegetic and non-diegetic music
- Non-exclusive for the film
31
What is original music?
- music that is created for the film
- always extra-diegetic
32
How does a music supervisor work with a director?
- **Understanding the director's vision:** the music supervisor dedicates time to fully understand the director's creative vision to ensure that the music seamlessly integrates into the narrative
- **Brainstorming sessions:** The music supervisor and the director explore musical ideas and discuss the emotional tones for key scenes
- **Flexibility in the creative process: **Is the music supervisor flexible and adaptable, readily open to changes or adjustments by the directors or producers?
The MS assists the director in choosing the right songs for the film.
33
How does a music supervisor work with producers?
The music supervisor helps the producer to build up a music budget for the project.
- **Licensing existing Music:** The MS can provide the producerinsights into the potential costs associated with existing music
- **Original Music:** When considering original compositions, the MS collaborates with the composer and provides with estimates the costs involved in creating the original music
- **Balancing creativity and budget:**The MS works closely with the producer to explore options that meet artistic and commercial expectations while staying within the allocated budget for the film's music
- **Libraries / Production music:** Often the music supervisor ca propose music and songs from Production Music libraries for budget reasons or just because songs are needed in scenes with violence or sex. These songs are already clerad for all tyoes of usage,
34
How does the Music Supervisor work with the editor?
- **Understanding the vision:** the music supervisor works closely with editor following the director's vision and the role that music should play in each scene
- Temporary tracks: during the film editing process, editors use temporary tracks as a reference for music. This is existing music, from various sources, selected and used to convey a specific mood, tone or characteristic for a scene:
**Function:** as guide for director, producer and creative team to understand how music could enhance a particular scene.
**Flexibility:** editor can easily replace or adjust Temp Tracks as needed during the editing phase. This allows for experimentation and exploration of different musical options before finalising the film score.
35
What clearances are required to use a song /music in a film?
when a song or music is used in a film, it is necessary to obtain two authorisations:
**Publishing clearance**: Involves obtaining authorisation from the writers and composers of the songs, usually represented by music publishing company.
**Master Clearance:** Involves obtaining authorisation to use the master recording of a song. Since ther might be different versions (covers) of a single song, Master Right holders must grant permission to use a specific song.
**MFN (Most Favoured Nation) Clause:** This standard clause in the business will guarantee to the rights holders the maximum possible when we are talking about a proposed fee.
36
What are the main clauses in clearance and contracts (Music Supervision)?
- **Terms:** This refers to the duration of the license granted for the use of a particualr track.
- **Territories:** It indicates the geographical areas where the use of the song is permitted. Contracts may specify whether the license is valid globally or limited to certain world regions.
- **Media:**It defines the media through which the film (including the song) can be exploited. From theatrical to future technologies.
37
What are the main types of contracts when dealing with music in film?
- Publishing License Agreement
- Master License Agreement
- Publishing and Master Licnes Agreement
38
How do you target a film with music?
- understand the movie's tona and theme
- Identify the target audience
- look at the mood board
- align with trends
- create an original score
- use the music in marketing
- explore nostalgia (can create an emotional connection with the audience)
39
What is a publishing license agreement?
This is a copyright transfer agreement, where the author grants all of their rights as author and copyright holder to the publisher.
40
What is a master license agreement?
A master license is an agreement between a music user and the owner of a copyrighted sound recording that grants permission to use the sound recording.
41
What are three things you need to give life to a musical event?
- a name
- a place
- an artistic proposal
42
How can a musical event represent a vision of life and contemporary culture?
- through the combination of its name, the space in which it takes place, and the artists involved
43
What is the Fusion Festival?
- one of the most important music festivals in europe
- the festival uses marketing strategies directly related to the socio-political ideas that drive the fusion movement
- The lineup is not announced
- tickets are sold through a raffle
- only vegetarian food is served
- taking photos / videos is discouraged
- 4 days / 40+ acts
- 70'000 visitors
- 220 euros
- accomodation: in-sight camping
- No social media presence
- no police inside the festival
- all food and beverages have the same price
- free drinkable water everywhere
44
How does the music festival WOODSTOCK attempt to change the world?
- championing peace and love
- celebrating diversity
- redefining music festivals
- boosting countercultural movements
- promoting environmental awareness
- influencing fashion trends
- showcasing iconic perfomances
- empowring women in rock
- revolutionizing music production
- fostering community spirit
- highlighting social issues
- encouraging artistic expression
- setting marketing precedents
- inspiring activism
- promoting drug awareness
- driving musical innovation
- strengthening the anti-establishment voice
- supporting independent media
- transforming tourism
- creating cultural legacy
45
Highlights of the Fusion Festival
- they expanded the artistic proposal to add value to their proposal
- They bought land to ensure the project has a chance to grow
- they limited the number of admissions t 70'000 for safety and consistency with the proposal
- Engaged more and better with the surrounding community, weaving an ongoing dialogue with local institutions and realities
- they have revalued an are linked to germany's darkest history
46
What is an identitarian perspective?
- edition after edition
- Who are you?
- What do you propose?
These questions lead to your identity
47
What is the productive perspective?
Where do I get the money?
Who do I involve in my network to produce the festival?
48
How do you create an event identity?
- Name (could be linked to the geographicl location or refer to a musical genre)
-
49
What is event branding?
- It is the process by whoch our brand comes to life and meets people
- bringing a brand to an audience means communicating it
- We are communicating a brand identity
Event branding aims to establish a strong and recognizable brand that resonates with your target audience and sets your event apart fro others in the industry
50
What is event marketing?
Event marketing focuses on promoting your event to attract attendees and generate interest. It can be defined as the process by which all event promotion practices are articulated
51
What are some marketing activities?
- Event website: the website is the face of your event. Simple, easy to navigate (Info & Tockets)
- Social media (editorial plan, editorial calendar, involve influencers)
- Email Marketing (Mailing list, build relationships with customers, launch campaign, sell tickets)
- Radio (Podcasting, interview, playlist)
52
What are 4 things the corporate design of an event should communicate?
- Who?
- What?
- Where?
- When?
53
Why is the corporate design of an event important?
Event design, and in general everything related to the visual communication of the event, is one of the most important elements of branding and marketing.
It is the quintessence of storytelling and the fundemental element of event identity.
54
Why are partnerships important?
It's worth discussing partnership opportunities with suppliers who would ordinarily charge for their services
- Technical partnership (wi-fi services, Backline, lights)
- accomodation (hotels, hostels, art residence)
- media partnership (radio, tv, magazines, websites)
55
What do PR professionals do?
- They handle media relations:
- Internal: large music festivals often have a big marketing department which may include a dedicated PR management
- External: Smaller festivals are more likely to outsource their PR activity to an external consultant or PR agency
56
Whiyh 2 areas can PR activities be devided into?
1) Press:
- Drafting press releases
- securing coverage in the trade press
- organize press conferences
- coordinate special content
2) Social Media:
- Editorial Plans and Calendar
- Sharing contents
- Organize the announcements
- Involve influencers
57
What are some ways to do advertising?
- Magazines / webzines
- websites
- radio
- social media
58
What are the main revenue streams for a music festival?
Essential revenue sources:
- Public Funds
- Sponsorship
- Ticket sales
Additional revenue sources:
- Food and beverage
- merchandise
- streaming
59
How do music festivals get public funds?
- usually, by responding to a call for proposals
- A propoasal shows: resenation of the event / business plan / artistic proposal / marketing activities
60
What are the pros and cons of private and public funds?
Pros:
- significantly reduce business risk
- stress is reduced
- easier compliance with the initial project
- Limited promotional effort
Cons:
- less originality
- Lack of perspective
- less creative freedom
- Limited artistic proposal
61
What is sponsorship?
Sponsors pay to access the festival audience through marketing and on-site presence
The sponsor's investment is directly proportional to the brand's visibility within the event.
Once this is established, involvement in the branding strategies becomes essential
Pros:
- secure necessary funds / resources
- cover costs
- lower ticket prices for attendees
- offer your attendees more value
- lend credibility to your event
- get a boost in oublicity and PR
- reach a wider audience
62
What is the role of ticket sales in music festivals?
- ticket sales are one of the most important revenue streams
- Ticket sales are directly related to event branding, marketing and audience targeting
- ticket sales are usually done online trhough ticketing companies (eventbrite, ticket one, dice...)
- Short promoitional periods (Early Bird) and discount codes are two of the strategies that can be combined to sell tickets in a more predictable way
- It is very important to sell tickets early
63
Why is it important to sell tickets faster and sooner?
- provides steady cash flow
- Better event planning
- signifies strong ninterest and demand for the event
- Generates FOMO (fear of missing out)
- Easier to secure sponsors and advertisers
64
What role does food / beverage play at a music festival?
- it serves as an additional revenue source
- food and beverages can be directly related to the identity of the festival
- The cost and nature of the food must be in line with the target audience, venue and artistic proposal
- food and beverages can either be organized by the festival, the venue or sponsors and partners
65
What role does live streaming play in music festivals?
- further source of income for an event that takes place in a hybrid form (live & digital)
- Can siginificantly increase the festival's income by encouraging users to pay to access the event through a platform where the live stream is hosted
66
What is the role of merch in a film festival?
- merch is closely related to the branding and visual commuication of the event
67
What are the main differences between a live music event and a streaming music event?
- live events have something "magical" and unique (anticipation of the day, preparation, arrival at the venue, shared experience with the rest of the audience, physicality, sound, vision)
Live event = UNIQUENESS
- he idea of uniqueness is challenged the moment a concert is filmed for broadcast.
- When we watch a streamed event, we are performing an act that can potentially be repeated indefinitely.
- Any live performance changes with each repetition, because it lives exclusively in the rpesent.
- Live streaming could allow more access, and limit elitism
- streaming is more accessible (lower cost than live)
68
What are some lives streaming platforms and how do they work?
- Vimeo Live / Restream / Youtube Live Streaming
- Users pay to access the website where the live stream is hosted
69
What's the role of a booking agent?
- booking agencies have a roster of artists with whom they usually have an exclusive contract
- The agency handles inquiries, but also submits and tries to sell its roster
- As an artist, you should hab^ve a booking agent.
- You could choose a booking agent based on:
- Type of contract (Percentage / Duration)
- Offer Schedule (fixed fee / percentage)
- Network (Local, international / genre)
70
Who is the promoter?
- often the promoter is the same as the organizer
- the one who is in charge of promotion (marketing, media etc.)
- manages all organizational and promotional activities
71
What is the role of a tour manager?
- A tour manager organizes the logistics, personnel, communications and schedule
- tour managers are usually freelancers who work on a tour-by-tour basis.
- Tasks: managing financial and logistical aspects of a tour, paying per diems, organizing arrival, departure, soundcheck and rehearsal times
72
How do you route a concert tour?
Planning a tour means asking questions:
- How do I get to where I want to go and play?
- What is the distance between tour stops, costs, tolls, accessebility, promotional plans?
73
What is a hospitality rider?
- It is a list of the artist's requests for all the necessary comforts on the day of the show:
- Accomodation (type of room, qualiy of hotel, etc.)
- food (vegetarian, celiac, etc.)
- Beverages (water, juices, alcohol)
- fresh towels backstage
74
What is a tech rider?
- The tech rider is a list of technical staeg instructions that allows the venue where the artists are performing, as well as the technicians, to be prepared for necessary technical needs:
- Channel list, backline requirements, stage plan, etc.
75
What distinguishes a major from an indie label?
- A major label is a multinational company that controls more than 5% of the world music market
- An independent label is a smaller and often localized company that operates without the distribution of a major label and with significantly less funding. They are a type of SME – small- to medium-sized enterprise.
76
Who are the Big 3 Music Labels?
1) Sony Music Entertainment: colombia, RCA, Epic, Arista (Global market share 22.1%)
2) Warner Music Group: Parlophone, Atlantic, Elektra, etc (Global Market Share 16%)
3) Universal Music Group: Interscope, Capital, Island, Def Jam etc. (Global Market Share 31.9%)
**Major label's total market share: 70%**
77
What are the pros and cons of a major label?
Major label have an organizational structure that allows them to follow all aspects related to a musical work, from its creation to marketing, production, promotion and distribution.
Forcing our hand a bit towards generalization, we could say that for an artist, signing with a major label means:
**Pros**
- Large investment in the product
- Having high visibility
- Having a chance to rise to the top of the target market
**Cons**
- Have few landmarks
- Being subject to strict editorial guidelines
- Avoid a gradual growth path that consolidates the fan base
78
What are the pros and cons of indie labels?
Independent labels tend to have a nimble internal structure that revolves around artists and a clear editorial line, which is often their strength. The artist roster is more specialized.
Many of the product marketing processes (such as promotion and distribution) can be outsourced.
We could say that for an artist, signing with a major label means:
**Pros**
- Getting 360-degree attention around the project
- Few people, but direct contact and close monitoring of the process
- Being focused on the right target markets
**Cons**
- Have less investment in the product
79
What are some examples of independent labels?
Fire, XL Recording, SUB POP, Domino, Rough Trade, Matador, Warp, Ninja Tune, 4 AD
80
What is the Secretly Group?
Secretly Group: Secretly Canadian, Jagjaguwar, Dead Oceans and Numero Group
The joint venture that was a game-changer in the history of independent labels
About:
- Four record labels and 1 music publisher
- Representing artists, writers, filmmakers, producers and comedians
- Streaming & Sync Specialist
- Operating globally
- Multiple Grammy, Mercury Prize, Brit Award, Oscar nominations
81
What is the brief history of the Secretly Group?
- in 1996, two labels were born simultaneously
- Secretly Canadian was founded by Chris Swanson, Ben Swanson, Eric Weddle and Jonathan Cargill in Bloominghton, Indiana
- Jagjaguwar, in Charlottesville, Virginia, founded by Darius Van Arman
- Jagjaguwar and Secretly Canadian merged in 1999, creating the Secretly Group
- Dead Oceans was founded in 2007 by the woners. of jagjaguwar and Secretly Canadian, with Austin-based Phil Waldorf
- The Numero Group was established by Tom Lunt, Rob Sevier, and Ken Shipley in 2003. It became a part of Secretly Group in 2013.
- Secretly Group is the parent to Secretly Publishing and Secretly Distribution
82
What does A&R stand for?
Artists and Repertoir
Module 003
flashcards
Decks in class (7)
# Cards
-
TV Un-Scripted Production Management / Part 155
-
TV Un-Scripted Production Management / Part 215
-
TV Series Creative Pitching Deck & Management / Part 122
-
TV Series Creative Pitching Deck & Management / Part 222
-
Film Production Management / Part 115
-
Film Production Management / Part 20
-
Module 00482
