BANDCOCKTAIL.COM

Finding a distributor is hard. It can take months and months before you find and secure a distributor, which is not an easy process for independent labels or individuals.

Don’t give up or get discouraged; keep plugging away, even if you can’t find a distributor after months of searching. Distributors get a lot of packages on their desks every week, so it’s imperative that you contact them first before you send them a package. When calling a distributor, you may get them on the first try, or it may take you weeks before you get a live person to talk to.

If you don’t contact them first, and send a package to them unsolicited, it might get tossed or sent back unopened. But you may think, ‘My product is awesome! They would never do that with mine.’ Sorry to bring you bad news, but your package may never get opened. As a matter of fact, it may never get past the receptionist’s desk without prior clearance. So why not make sure that your product has a much better chance of getting heard by getting permission first?

For those of you who feel you could never make any cold calls, you will have to get over it, or have a friend do the calling for you. Getting through the first phone call is always tough, but then you will see, as you make more and more calls, that it gets easier every time. You are in competition with a lot of people who are making the calls. If you don’t call, the chances are very slim that you will ever be heard.

If, after the first time you call, you still feel that you are just too embarrassed, try making up a character and make your call as that character. Become “Jicki Wicki” from “Nagawicki.” (You never know; it could lead to an additional career of acting!) Make it a game.

It is important that you submit your CD to a distributor that distributes your kind of music. The person you send it to is not necessarily the person in charge of final decisions. From the time you start contacting them, it may take you six to eight months to get the actual product in their hands and get them to finally listen to it, before you find the right distributor. Once you finally get one, it can take an additional few months to get added to their database. Here are few words of advice on finding a distributor:

• On your first call, tell them your name and label. If you haven’t picked a name yet, make one up.
• Ask about their submission and distribution policies.
• Ask if being the only act on an indie label is going to cause a problem. Many distributors will not take products from Indie labels unless they have at least three to fifteen CDs in their ’stable.’ Additionally, many distributors will not take you on unless you already have established airplay. The catch-22 is that many radio stations, while they may play an independent artist, will only do so if they have national distribution.
• Ask what they want in the press kit. Some want an entire press kit with a CD (forego sending a headshot unless specifically asked for one), while others just need a letter of summary which contains recent happenings, targeting ideas, and review excerpts, if you have any. It’s important to find out this information beforehand. We found out, after much wasted time and money, that several distributors only wanted the letter. They had opened the package, read the tear sheet, and thrown the rest away. Once we started calling frequently, they asked for the whole package again. What a waste of resources!
• In your letter/press kit they will want to know your “SRP,” which is your Suggested Retail Price. For those of you who are unfamiliar with retail versus wholesale, retail is the price the consumer would pay in a music store and wholesale is the price the distributor pays to the product owner.

My suggestion for SRP is $11.98 – $12.98. You don’t want to price yourself out of the market. When you look in a music store, most major-label artists’ CDs are “on sale” for $11.98. Distributors will typically take 40-60% of your SRP as their cut (which at 40% x $11.98 gives you $7.19 per CD), and the music stores will typically mark up your SRP by $1.00 – $4.00. If you set your SRP at $11.98, and the store adds an additional $2.00 to the price of your CD, the cost to the consumer would be $13.98. However, if you set your SRP at $13.98 and the store adds $2.00, the price to the consumer would be $15.98. Which price do you think a consumer who had never heard of you would be more likely to pay?

• Double-check what style of music they currently distribute.
• Ask if they require your music to be played on a particular radio station.

There are some distributors that require you to be played on specific stations before they will distribute you. If that station does not play your genre of music, you have wasted your product, money, and time. Let me give you an example of why this is another key question. We had asked all of the above questions, with the exception of this particular one. Then we shipped off the package. When we contacted them later, they asked us if we were playing on a certain radio station. We said no.

It turned out that the station only played alternative music, while our CD is Country/Jazz. You can see the problem. When we approached them about this fact, they said they did not distribute Country Music. We asked when they stopped distributing Country Music. The gentleman we spoke with during our initial call said he was considering presenting Country Music to the company, but hadn’t had the chance. He realized that we would never be played on the station on which they require airplay, so he dropped it. A great example of wasted time, effort, and money!

• Inquire where their distribution arm reaches. Ask for specific states and regions. Some distributors only distribute in certain states. If your radio airplay, live gigs, and promotion are not in those regions, they cannot help you.
• When is the best time to reach them?
• Who are some of the major stores they distribute too, and in what areas? Call several of the stores and double-check their references. If the stores have never heard of them, they may not be a legitimate distributor. Save your product from an unscrupulous person who may be trying to rip you off.

This is just a sampling of things you must do in order to obtain a distributor. Don’t forget to get your music listed with iTunes, Sonymusic and all the other online distributors. Once you actually obtain a distributor it’s an entirely different playing field, and a lot of work, but well worth it.

Copyright (c) 2008 Daniel Lafleche

So, you have an indie film and you want to find distribution.

Never have so many options for distribution been available; never has it been so confusing to decide what is right for you and your film. The industry is experiencing a transitional moment; everyone knows online downloads are the future, but nobody knows exactly how it will play out. As well, distribution has gone online too, offering a plethora of choices for the indie filmmaker and producer. What to do, what to do.

This article is the first of a 5-part series that looks at all of the avenues open to you as a filmmaker and distributor. We’ll offer some tips on how to find your film a home.

Regardless of your film’s ultimate destination, your goal is to find a license buyer for your film. Who are film buyers? We’re talking about broadcast TV (cable, satellite, and terrestrial), home DVD companies, VOD service providers, and mobile content providers.

Let’s start this series by examining the psychology of this rare and overworked professional. Here are five things you should know about Film Buyers and 5 tips for putting the best face of your film forward.

1. Film Buyers want a ’story’. This little bit of terminology here might create some confusion. We’re not talking about the plot of your film or the subject matter of your documentary, but a story that will sell the film–on paper. You should be doing everything in your power to create that story. To do this, you have to distance yourself from the film you know and love and ask yourself: What will sell this film to somebody who does not know and love it the way I do? The answer to this question is the ’story’ you will use to sell your film.

The most obviously valuable raw material for a sales story is…star power. Film stars often fail to attract their audience, but nothing makes film buyers feel more peaceful than the presence of some known names in the mix. If you are bereft of any bona fide name power, do not fear, you have other options. Festival play and any press generated are also incredibly important. You should be knocking yourself out to find some kind of festival and press exposure for your film. Even if it’s not a top festival or a top publication, festival and press play will take your film from having no story at all to having a first chapter. Hype is over-hyped, but your film is going to look more valuable to buyers if it has a story. If you can say, “This film already had some exposure. This film has been reviewed. This film has played at a festival. This film has a response. This film has an online presence. This film has the beginnings of an audience or a niche audience,” then you have a story buyers will want to cuddle up with.

If you are looking for ideas you should check out the industry trades. Look at how distributors market their films, and figure out how to do this on a small scale. You want your story to be a comfortable and familiar one. “But my film is original, beautiful, heart-breaking, unique…and my marketing must be the same,” you say. This brings us to the next point…

2. Film Buyers think in dollars, not passion. When selling your film, don’t rely on your own enthusiasm and passion to make the sale. Again, channel your enthusiasm into a narrative the film buyer can understand, a narrative about how and why this film is going to attract people to it. Has this genre of film had any recent notable successes? Does your film intersect with any issues or topics that are garnering attention? Save your passion for your filmmaking, and focus your remaining energy into crafting a professional marketing campaign and learning the highly efficient language of film buyers.

3. Film buyers are overextended, have short attention spans, and don’t want to waste time. Film buyers are professionals. Hook them fast with a comprehensive one sheet (or sell sheet). The circumstances in which you are pitching your film are going to vary, but one thing that everybody will need at some point is a one sheet as part of their promotional package. Here is the crucial thing: your sheet should be short and to the point. This sheet is a cliff notes to the strongest features of your film. Do you have a few positive reviews? Great, use them in the press kit, but on the one sheet just use the best line from each one. Do you have some seasoned talent? Stick their names on the one sheet with 1 or 2 of their best-known films, but save full biographies for later. Any film can create a ton of paperwork, but nobody is going to go through it all. Don’t bury the selling features of your film and assume buyers will get to it. With that in mind, don’t assume a buyer will watch a screener. Most buyers accumulate hundreds and hundreds of screeners every year and many of these remain unwatched. Save your screeners for buyer’s who show interest, or even for buyers who you have a good feeling about.

4. Film Buyers want to work in their comfort zone. To save your time and your buyer’s time, you should always do research beforehand, especially if you are making the first move. Are you targeting a buyer that makes sense for your film? Why do you think so? What else had this buyer/company done that makes you think the company is right for your film. Again, these points can be, if not part of your one sheet, an introduction to the story of your film. You will look professional and on the ball, you will stand out if it seems like you have done the research and are personally addressing a buyer’s specific skills, past successes and proven strengths.

5. Film Buyers are freaked out. By and large film buyers are a worried bunch, cowering in the ruins of the decimated music industry and wondering if their business is going to disappear out from under their feet. Film and music are different animals, and the future of film in the era of online exhibition is still not completely foretold, but the mood is certainly wary. The film industry is in transition and everyone is handling it in their own way, some better than others. You’ll see conservative streaks, but also canny entrepreneurs looking to exploit the changing terrain. Overall, though, most buyers want to minimize advance spending. This practice, in itself is not suspicious, but for your own protection do your homework and make sure you are dealing with a reputable company and a company that is in a stable financial position.

Virtual Venues Network (VVN), a pioneering media company that produces high-definition, virtual concert experiences at clubs and theaters, has introduced an exciting new opportunity for independent filmmakers, music documentary producers and makers of alternative content. “Indie Roadshow” will provide an alternative to traditional theatrical presentations with a new, state-of the-art digital showcase environment offered to nightclubs and college music venues. The “Indie Roadshow” will be offered exclusively through the Virtual Venues Network beginning October 2008.

“This is an entirely new channel for independent distribution” says CEO Michael Horne, “In addition to the great concert footage that has been submitted for inclusion in our “Virtual Concert Experience” environment, we’ve received great documentaries and indie projects that are perfectly suited to the college and nightclub audience.” The Indie Roadshow will feature pre-release exclusive screenings and stage DVD release events city to city, on tour, all year round.

VVN books high-definition music content onto nightclub stages, replicating the live concert and bringing national touring acts into smaller markets they would not reach on tour. VVN is currently outfitting nightclubs and college venues with projectors, their patented, ClubLyncTM digital players and installing life-size screens on-stage at each venue. They are currently coordinating a 60-city tour with “Hi-Def From Red Rocks featuring The String Cheese Incident.” While The String Cheese Incident is no longer touring live, the three hour, twenty minute Virtual Concert Experience is reuniting fans in hometown venues across the country.

Visit http://www.virtualvenuesnetwork.com for programming info and upcoming Virtual Concert and Indie Roadshow screenings or contact Virtual Venues Network at 831-421-9500.

DIGITAL MUSIC DISTRIBUTION

Digital music distribution is defined as the process of the online delivery of the product and services directly or indirectly form the manufacturer or service provider to the end recipient i.e. customer.

It is quite evident that it is not possible in case of all the goods and services but it is very much possible and is being commonly practiced in many services like music, software, books, movies, video, video games etc. of all these services, they are either in digital form ab initio or they are capable of being converted into digital form easily and quickly.

The basic requirement for establishment of digital distribution is only an internet connection apart from a website or something for meeting place of the seller and the purchaser. However for some of the digital distribution producers such a video, movies and large software’s or games, it is recommended to have a fast internet connection at both the buyer as well a purchaser.

The digital music distribution process basically has its own advantages, disadvantages and limitations. Advantages of digital distribution include the direct nature of the products and services i.e. the product and services are transferred from seller to purchaser mostly without or minimum level of intermediaries as opposed to non-digital distribution, hence removing middleman margin and resulting in a win- win situation for both buyer and seller, buyer getting products for lesser price on which they would be otherwise available and producers or sellers getting more profits than they would otherwise obtain.

The second benefit of digital music distribution is the global availability of the products. As internet is the distribution medium for digital distribution, more and more people living globally have the access to the product and distribution can also be made instantaneously to any corner in the world with very minimal delivery cost. This actually increases the target market as well as sales expectancy manifold than normal physical distribution.

Another benefit of digital music distribution is that it eliminates more production and storage of the product as the digitally deliverable products needs to be kept in single copy only with the vendor and can be very easily copied into as many copies as required and delivered. This also reduces the multiple manufacturing and storing overheads on the part of the sellers.

However digital distribution has certain limitations as well as drawbacks too. Limitation being that only a few of products can be distributed through digital distribution.

Further the digital distribution also leads to loss of publisher support to the creators of software, music or book etc. as no publisher is involved in the process. This also makes the project in early stage loose any kind of publisher advance funding and creators are left on their own for the arrangement of funds.

Another drawback of digital distribution is that it creates problems in digital rights management as the digitally distributed goods and services can be easily pirated and copied. This can be overcome by various digital rights management solutions available currently, like authorizing only one copy with one key of software’s and compulsory online registration for full use etc.

One more problem that comes in digital retailing is the lack of proof of purchase for legal issues.

However it is still beneficial for small creators like musicians or software programmers. Small music bands also have benefit of launching single track at a time online, than launching whole album and also it helps them in arranging fund for their next tracks.