While the 'old world' exploitation rights, and thus control over the film in general to the rental or sale is made, the decision-making power remains in the “new world” for the filmmakers. He selects for different partners in different territories and the recovery strategies can decide or determine. Often Rental World Distributors or criticized, wrong or inadequate strategies for the film to be applied. Which national rental, the movie is sold? What rights are sold? For what conditions? What festivals will start for a film used? In which film markets, the film is presented? The potential of the film remains unused, because the world distribution of resources either does not have to be sufficient to take care of marketing, or even after simply not enough potential in the film and therefore looks increasingly other films in its catalog devoted. The filmmaker remains in such a situation is often no other choice than to dialogue with the distribution to seek to try the contract or the situation aufzukündigen easy to accept. Since the “new world” the benefits of a global distribution de facto no longer claimed to be and thus omitted (can), is thus also the control over the further marketing of the film in the hands of the Filmmaker. He alone can decide how and where his film will distribute and market, he alone can decide which contracts with the partners for the duration to be completed. But the self-distribution, the so-called DIY (Do-it-yourself ')-distribution is anything but simple: There is a need – as in the “old world” – many years of market knowledge, contacts and knowledge about the possibilities of technical innovations, in order to maximize their benefits. The necessity of this knowledge is, however, in most cases by the filmmakers underestimated: with blind trust they pounce on all sorts of advice blogs on the Internet, as well as “how-to” – and “Ten-Steps-to” books, to little later determine that it is a long-standing knowledge and especially contacts that have hitherto only had sales and rentals and have been able to not just a simple reading can acquire. At least resourceful businessmen, profit is sure: They deserve by the new euphoria around the DIY method, with their counselors, the proverbial golden nose. The filmmakers, however, the profit in the rule. The counselors are so fond of these cited examples of success in “low-budget productions” have almost without exception sales professionals with many years of market knowledge in the background and had shown absolute Exception, not rule cases. There is no doubt that the digitization Although the tools were available for everyone, but also the foundations for the bike would have been in the stone age where, no one could drive it. Of course, it is not excluded that this DIY method to operate successfully, but you must be ready for the major part of its efforts in a substantial factor to invest: (learning) time. Because it takes one time to the complex world of online distribution and to understand the other must be as much time to learn effectively and, above all, useful to be able to apply. Something that most filmmakers do not want to or can afford. Tools on the Internet while trying to automate this process and a way to finished product distribution, which at first glance seems enormously time-saving, but this bill does not go on, because – since the dog is buried – the rental and sales of a movie can not automate still follow a uniform format handle. Each film is a stand-alone product and requires specially-ordinated sales and marketing strategies. A big misconception is that the Internet distribution through its use somewhat simplified in this scheme has changed, but, as they say: nihil novi sub sole , or in this case … in the world of distribution. expresses a technically simple and inexpensive settlement is therefore a still very difficult to market, in the “new world” even more difficult is because of the immense masses of content, the the Internet offers, the consumer is becoming harder to reach and can only be achieved through strategies targeted to a product be made aware of: And this is best done through an online distribution specialist. The sometimes assumes the role of a classical distribution, which is why it looks like in the “old world” of course makes sense, those specialists from the outset in the project involved. And that closes the circle somehow, because the Internet is one – with a few exceptions – only succeed if you are concerned with the needs of the market addressed and provide access to just that market finds. And that can be reached even in the “new world” only through investment: Be it in time, you as a filmmaker has rarely. Or in a specialist, which costs money. Another important point is the direct sale: The internet is the first time direct access to consumers and thus also possible a direct connection to the audience. The number of distribution companies involved directly reduced as a multiple and through direct sales will remain at the end more money at the filmmakers. In the “old world”, however, had to share many of the cake: World sales, rentals and dealers, to name a few. But sales have also come about: A high margin brings the filmmaker absolutely nothing if he only ten units sold. Ever have the option of the successful direct sales only to the audience either already known – either because of previous successes, their name or their brand – or direct relationships with customers have built up – so on a kind of customer base. This build, however, is a lengthy and tough process. As Kevin Kelly in his 1000-Fans-described principle, it can be for a filmmaker up to three years, 1000 called “true fans” to build – and that is in some ways still an ideal case. Obsolete, this method of course to the “One Hit Wonders”, which is not only in music but also in the video distribution there. read more