On the occasion of YouTube’s 10th birthday the Industry Meeting takes a look at short film distribution on the net, including the special case of online series, using the example of Endzeit by Anna and Jan Groos. Further panels broach the issue of rights with regard to music videos and the situation of short films between the contexts of art and cinema.
During the past few years there has been a standard operating procedure for short film makers: first you wait until your film has been through all the festivals, then you put it online. In the meantime this procedure already seems quite dated. On the one hand there has been a significant rise in platforms specialising in the online commercialisation of short films; on the other hand an online presence is no longer a disqualifier for film festivals. Nevertheless, you still need good strategies and ideas to be successful online. At the same time you must ask yourself, what this online success actually looks like: does this establishment of VoD platforms mean that short films can now also find commercial success? How do distributors deal with these new digital possibilities? In any case: on the 10th birthday of YouTube the question of the future of short films on the net seems as relevant as never before.
Online series: Short term hype or commercial chance?
While the feasibility of individual short films on the net still seems debatable, there is a current trend for launching online mini series. With the regional success of fauner consulting a few years ago and improved marketing opportunities, young projects like Endzeit by Anna and Jan Groos are on the lookout for an online audience.
PANEL: SHORTS ONLINE
27.05.2015 - 13:00
Again this year, the meeting of international film schools is dedicated to improvement and enhancement of the academic and applied exchange of three renowned film training centres in Europe:
FAMU Filmová a televizni fakulta Praha
HEAD Haute école d'art et de design Genève
FAK Filmakademie Wien
„Meet the University“ combines the presentation of two to three films of young students from each of the schools with a following discussion about where the focus lies in the education and also how and when is the right time for the transmission from film school to industry.
Breaking out of the cinema’s confines has always been especially appealing, particularly for the short film. The art space (and its proximity to the art market) serves as an auspicious venue for the expanding moving pictures, but the presentation in the “White Cube” also has its pitfalls. While the two spheres – art space and cinema – used to be distinctly separated, the boundaries are more blurred today. More and more museums integrate their own cinemas into their premises (often without knowing exactly what to show there). And cinemas and festivals alike are increasingly rediscovering the exhibition space to make certain works accessible “live” with performative elements. New forms of presentation in the art and cinema context will be addressed in this discussion, as well as the question of the “State of the Art” of the art form short film.
29.05.2015 - 13:30
Online platforms like YouTube and Vimeo offer a host of music videos and are their primary medium of distribution. The more clicks a video gets, the quicker it is circulated on the small screens. For (often young) creative film makers, music videos lend themselves to experimentation and allow the film makers to cram images and stories into the length of a song with all available methods and techniques. This results in fully fledged works of art by film makers, which also serve as marketing tools for the music. Whose decision is it in the end, what happens or should happen with the video in whatever situation? Who owns the right of exploitation? When it comes to productions on a bigger scale, the labels or record companies often intervene before the videos are released, sometimes removing videos completely from the net. So does this mean that the music industry has the upper hand? And where will the current MuVi-hype lead to?
30.05.2015 - 13:30
This year will be the third time for the youth jury to award a prize in the National Competition. New this year is thecooperation with SOS Kinderdorf Wien. Young people from various residential groups ranging in age from 14 to 19 years will come together to view films and learn how to approach films that aren’t mainstream and are more removed from the youngsters’ own experience of media. The project will be brought to a close at the festival, when the youth jury will present their winning film following their own assessments and discussions. This year's final youth jury members: Dominik Wessely, Nenad Kübast, Rebecca Englisch.
The project is organised by Joachim Traun / Kim Lange and realised with kind support of the Stadt Wien – Magistrat für Bildung und außerschulische Jugendbetreuung. We would also like to thank the firm Synchro, who are once again providing a post production voucher worth 1.000 Euros as a prize.