Digital distribution for all sizes of organisation

This is a resource that lives on culturehive.co.uk and quite possibly elsewhere. It's the result of a project led by Miracle Theatre, a rural touring company. A bit more info:

"This manual is the result of a period of experimentation and exploration of the interface between live and digital carried out by Miracle Theatre in partnership with Dogbite Film Crew, Golant Media Ventures, Cinegi and Falmouth University.

We set out to look at affordable and innovative ways of making digital versions of our theatre productions and distributing them, both live and recorded, to a network of dispersed, often rural, venues via presented screenings and digital platforms.

The equipment would need to be affordable, the method of delivery user-friendly and the product retain the intimacy, vitality and spontaneity that is typical of small-scale live performance. Most importantly we wanted to find out if audiences have an appetite for this kind of product and how the different forms (whether live, live-streamed, recorded 'as live' or made for screen) affected the audience's experience.

Finally we were interested to explore the potential for building a sustainable business model: this would include research into appropriate pricing structures, marketing and rights agreements."

The full guide is here http://www.culturehive.co.uk/resources/a-manual-for-bringing-theatre-to-the-screen/

Why the contribution is important

How can new models of sharing content be accessed by smaller organisations? We need to ensure that no organisation gets left behind.

by cathhume on July 12, 2017 at 11:00PM

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Comments

  • Posted by willpsaunders July 14, 2017 at 13:49

    This is a very interesting project and we have been talking to the Cinegi team as part of our work. What would be interesting to understand in a little bit more detail is how important geography or geographically specific content has been or might need to be in order to engage communities or groups who might not normally experience cultural content. Ie can projects like this succeed with audiences if we distribute existing content or do we need to think of new forms or in this case more geographically specific forms of content to attract underserved audiences?
  • Posted by MiracleTheatre July 21, 2017 at 14:26

    Hi Will, we think Miracle's micro-budget feature film, Tin (grown from a theatre project), is a really interesting example of new forms of locally relevent content reaching new people.

    Tin (www.tinmovie.com) tells the true story of a mining scandal in West Cornwall in the 1890s and was self-distributed and released by Miracle in 2015.

    In Cornwall, after an initial commitment to screen the film for one week, both Cornwall cinema chains held the film over for 3 weeks, and even a 4th week in some cinemas, after numerous sell-out screenings. In its first week Tin outsold all films in Truro, including “Fast & Furious 7” (in fact, more than doubling the blockbuster’s audience).
     
    With 229 screenings, across 15 cinemas, Tin reached over 6,500 people in its first two weeks in cinemas – equivalent to the number of people Miracle would reach on a 3 month winter tour. In these two weeks Tin therefore increased Miracle’s overall audience for the year by over 30%.
     
    Screenings continued in independent cinemas in the South West and other venues including village halls, community centres, art centres and galleries. Four outdoor screenings took place on the clifftops of Botallack (the historic home of the story) in August 2015 when around 100 people each evening watched the film despite pouring rain and thick mist.
     
    Anecdotally we know that Tin attracted audiences who had not previously seen a Miracle show and were not ‘theatre goers’. The local community saw it as ‘their film’ as it was ‘their story’ - so a case of locally culturally relevant content making an impact.
  • Posted by TheSpace August 03, 2017 at 17:20

    The Space was pleased to be able to support Miracle Theatre with a commission in our new Lo-Fi extend strand, that aimed to raise awareness of and engagement with Miracle’s work via short-form content on social media. This and other projects we’ve commissioned illustrate that digital is a vital component in extending audience reach locally as well as nationally. Our commission of ‘The Passion’ from Streetwise Opera had national reach but also significant local impact via the homeless community who participated in the project. Our commission of Artichoke to capture its activities marking the 350th anniversary of The Great Fire of London for broadcast and online distribution applied these same digital techniques on a different scale. Here the project reached an online audience in the millions, but also allowed a London audience who couldn’t physically get to the banks of the Thames, to be involved in the experience.
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