Shifty Case Study

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Transcript of Shifty Case Study

  • Film Industry Case Study
  • Summary!
  • Team Challenge You have ten mins to write down EVERYTHING you remember about the film Do it quietly as you dont want others to steal your ideas.. Production Marketing Distribution ExhibitionProduction Marketing Distribution Exhibition AudienceAudience SWAP You now need to fact check another groups work (your own brains, books, Google, Miss Hill Brain) Write down up to five points that are not on the sheet that you think the group needs to know
  • SHIFTY - Introduction oIn recent years the production budgets for British films have been falling oWas 2-3 million Now 1-2 million oThere has been an expansion in films of very low budget - known as micro-budget
  • SHIFTY - Introduction o Shifty was made in 2008 under the Microwave scheme (UK Film Council) o Microwave was set up to widen participation and access for young London-based filmmakers o The scheme offers support for films to be made in 18 days and with a budget of less than 100,000
  • SHIFTY - Introduction The film was written and directed by Eran Creevy It is the second Microwave film to be released Released on 24th April 2009 Opened with 51 prints through independent distributor Metrodome
  • SHIFTY - Introduction Opening weekend took 61,000 After 3 weeks down to 12 prints after taking over 131,000 Final box office - 244,579 Note: that the release used both traditional celluloid and digital prints
  • SHIFTY - Introduction However, the cinema release for a film such as Shifty is mainly a marketing platform not a revenue generator The majority of the revenue will come form the DVD/Blu-Ray rental and direct sales, television, cable and satellite
  • Marketing The film was distributed by Metrodome who marketed the film in the following ways: Spent about 50,000 on prints, administration and advertising They felt that the film was similar to Kidulthood/Adulthood and wanted to reach a similar audience known as Urban Genre They wanted to reach a young, urban audience
  • Marketing However, to maximise the reach of the film Metrodome produced three trailers all tailored to appeal to different audiences It was felt that the film could also appeal to the middle-class Guardian reading audience The trailer targeting this audience featured a more classical style soundtrack whilst the urban trailer featured a hip-hop style soundtrack that didnt actually feature in the film
  • Marketing How to attract the young urban audience? This audience is highly proficient with New Media Technologies Therefore a low-cost high-tech campaign would be the best way to reach the target audience
  • Marketing To reach the target audience, adverts ran on pirate radio stations Fly-posters were used The poster was simple & eye-catching with a bold yellow background Business cards representing the character of Shifty as a drug-dealer were distributed which included the website
  • Marketing A viral marketing campaign was used via email Emails were sent to various opinion formers in the media (e.g. The editor of Time Out magazine) The email appeared to be from an official community organisation that had identified the recipient as a possible drug dealer There was a link at the bottom of the email to the official Shifty website
  • Marketing There was a complaint to the Advertising Standards Authority and the email was banned However, the publicity actually helped to raise the profile of the film A further viral campaign suggested that recipients frame a friend Again the links took you to the Shifty website
  • Marketing The website included a competition whereby music from the film (by Molly Nyman and Harry Escott) could be downloaded and remixed to create a new track The website stated: Were looking for remixes in a wide range of styles, from dubstep to classical, the choice is yours
  • Marketing The remixed track could then be uploaded and the producer of the best track would win: 500 and time in a studio to complete your track with a professional producer Music was also recorded by the star of the film Riz Ahmed who is also a professional musician Some of the tracks could be downloaded free from the website
  • Marketing A music video was also created that was uploaded to Youtube There were also pages on Facebook, Myspace, Bebo
  • Conclusion The marketing of the film represents an example of cross-media convergence with: Posters Radio (adverts on pirate radio) A website Social networking sites (Facebook, Myspace, Bebo) Email viral marketing
  • Conclusion Music MP3 downloads CD the soundtrack Youtube the music video Cinema and television trailers (also on Youtube) DVD/Blu-Ray www.shiftyfilm.com
  • Case Study - Shifty Key Issues UK film aimed at a national/local audience Traditional UK film genre Ultra low budget production via National Lottery UK Film Council / Film London Typical UK film funding Metrodome distributors Interesting use of viral marketing, film festival and award ceremony Produced with DVD extras and sales in mind
  • Case Study - Shifty 1. UK film aimed at a national audience Shifty is a typical British success story. Filmed on a shoestring budget, director Eran Creevy was still able to create this character-led, well-crafted, cinematic piece as his first feature film. Eran Creevy - Well established in the world of music promos and commercials, he has been honing his craft for a good few years before turning his hand to features. http://www.thereel.net/blog.php?article_id=172 http://www.youtube.com/watch?v=zkYhQoLEDzA
  • Case Study - Shifty The actors - As his first feature, it was obviously a risk for well known actor Daniel Mays (Atonement and Vera Drake) and up-and-coming actor Riz Ahmed (Brits and Deadset) to undertake but, with Erans well-written script, insightful character observation and on-point direction, what was created in only three weeks certainly was impressive.
  • Case Study - Shifty 2. Traditional UK film genre The story tells of 24hrs in the life of your friendly neighbourhood crack dealer and doesnt adhere to the often, stereotypical workings of previous British, working-class, grimy gangster flicks. Its a character led film that has its feet firmly on the ground. It doesnt try to be something its not and theres no glossing over the grim realities of a story based on a childhood friend of Eran. Genre - contemporary, urban thriller with a strong element of social realism. More Ken Loach and Mike Leigh than Guy Ritchie or kidulthood!
  • Case Study - Shifty 3. Ultra low budget production Microwave challenges film-makers to shoot a full length film for up to 100,000. The scheme will provide an intensive approach to film-making, with an emphasis on tightly focused scripts, short production schedules and commercial potential. Microwave offers a unique professional mentoring scheme from leading industry figures. Film London and its partners will also offer a range of assistance including in- kind support from leading facilities and service companies, waived locations fees from many of Londons local authorities, and a generous revenue share model which will enable producers to utilise the UKs new tax credit to secure a 40% share of receipts. Completed projects will have the opportunity to showcase at the annual London UK Film Focus sales event as well as at major international markets.
  • Rory Aitken - Producer The Microwave Scheme challenges filmmakers to make films for 100,000. You could make it for less, but for no more. It's run by Film London so they oversee the production and you have to go through various stages of applications. The last one of which they call Micro-school and that's a week where you spend time with experienced people in the industry who talk you through your film and you try to develop it in various directions - to the script, the budget and who you're going to get to act in it etc. - and then you have to pitch the film to about 10 people on a panel for 15 minutes which is the most terrifying bit of it all. They then gave us half the money and we had to raise the other half. Then they helped us make the film with that very, very low budget.
  • Case Study - Shifty 4. Typical UK film funding The average budget for a domestic UK film in 2009 was 3.3 million. Independent The Duchess, In Bruges, Son of Rambow UK Film Council productions