Ed Sheeran: Piracy Is What Made Me

from the good-guy dept

We all know by now the music industry's mantra that piracy kills artists. Well, not kills kills, but kills their musical careers before they could even really begin, so destructive is the dissemination of free music amongst the public. After all, if the public doesn't pay for every last instance of every last bit of music, how in the world could musical artists ever make a living? This mantra is one that tends to be applied universally to the concept of free music by the industry, with zero in the way of nuanced discussions about potential business models that might work for some, or many, artists.

Except that that's silly. It ignores the power of freely disseminated music in helping musicians to be discovered in the first place, where they can then go on and make all kinds of money through what have always been better profit-centers for artists, such as concerts, merchandise and the like. Many artists don't understand this, swallowing the industry's mantra whole. But there are exceptions, such as Ed Sheeran, who began his career sans record label, promoting himself instead.

Beyond writing the songs, Sheeran also wrote his own rules about how to sell them. Like so many others, he had set off for London as a teenager, singing on street corners and in pubs. But he didn’t knock on record company doors or wait to be discovered. Instead, he began marketing his own stuff, releasing his music himself on websites until -- inevitably -- a record label came calling. He had already earned half a million from his independent sales, putting the music out himself.

“What I didn’t have was infrastructure,” Sheeran said. “They have an American label, they have a Japanese label, they have an Australian label. So that’s what I was signing for.”

And that infrastructure is where labels can indeed provide some value. Except it's simply not the value for which labels have taken so much credit for far too long. There was no initial discovery and nurturing done by the labels in Sheeran's case. Sheeran did that himself. Instead, the labels came calling after the initial work was done and pitched even wider distribution in exchange for slapping their names on an already ascending star. This serves as a rebuttal to some of the reaction you see in cases such as Run The Jewels, with some complaining that their free music strategy chiefly worked because they were already a household name. Sheeran's case is the opposite, in which he became a household name because of his free music strategy. It's not that the strategy is easily portable to every artist in every case, but it does remind us that the blanket disgust toward piracy by the music industry is not supported by reality either.

But even after the labels were involved, Sheeran indicates a clear understanding of how and why his music supercharged his fame to the household status it now has.

Who helped him first? Fans, he says. “It was file sharing. I know that’s a bad thing to say, because I’m part of a music industry that doesn’t like illegal file sharing.”

“Code for piracy.”

“Yeah, but illegal fire sharing was what made me. It was students in England going to university, sharing my songs with each other.”

And what is his view on file sharing now? “I don’t think file sharing exists now.”

“Really?”

“Yeah, I think people rip off YouTube. That’s a thing. But I feel like it’s so easy to stream.”

Sheeran's case goes beyond simply giving music away, of course. His treatment of his fans creates a bond as well, one that fosters a desire among the fanbase to support him. The free music alone isn't enough, he needed his personality and talent, as well, to make it work. Still, it's easy to read shrugged shoulders into his comments on music piracy in the present, and obvious gratitude for it in his past. It's unfortunate how rare this mode of thinking is, which is why it's a bit jarring to hear a star like Sheeran say something as profound as "illegal filesharing was what made me." You can almost hear the groan from label executives as you read the words from a man far too busy counting his money and making his art to care.

And, to counter another industry claim that any gain by an artist through piracy is short-lived, it's worth noting that Sheeran's latest work is selling, and selling well. At a record breaking pace, in fact, even as the concert venues continue to sell out for Sheeran's appearances.

Not bad for a young man who credits piracy for all that glory.

Filed Under: connect with fans, ed sheeran, music, piracy

Run The Jewels Succeeds With Free Music And A True Connection With Fans

from the doing-it-right dept

Techdirt has always been a place where we have discussed new emerging business models for the entertainment industry, including the music business. For far too long, there has been a battle about how musicians should monetize their art, with one side claiming that infinitely reproducable music files should be costly out of respect for the musicians and the labels that produce them, and the other side pointing out that this doesn't make any economic sense and that there are plenty of ways for artists to monetize their work without pretending the internet doesn't exist. Free music has always been at the forefront of this discussion, as some artists have given away music files as a way to make money elsewhere: live concerts, merchandise, etc. Yet, no matter how much money the new models can and do make for those musicians that embrace them, there is a stigma about what is essentially art enjoyed for free. And that stigma is often dressed up as a concern for artists.

Yet that concern must wane as examples of artists making the internet work for them have proliferated. And those examples are no longer relegated to smaller artists with short music lifespans. Recently, Killer Mike and El-P from the exploding hiphop group Run The Jewels were guests on The Daily Show (we can't embed the video because Comedy Central, stupidly and inexplicably, doesn't use HTTPS — but you can view it at that link, or this one for our Canadian readers). While most of that conversation didn't revolve around the music industry, the first few minutes of the interview certainly did and both artists' explanation for why they chose to give away their music should sound quite familiar to Techdirt readers. Here's El-P:

I ran a record label for 10 years back in the day, I ran a record label called Def Jux, and it completely collapsed under the weight of the whole music industry, essentially. People stopped buying and we were based on an old model.

We kind of did the first record just as a thank you to our fans. We were really thankful that we had our solo careers, we had been working together, and we didn't want to go through everything. We didn't want to look at the first week sales, we didn't want to compete, we just wanted to give something away. It just occurred to us, it just felt right. We wanted to get the hearts and minds of people, we didn't want to trick them into buying a record with one single and, you know, we just didn't want to play the game.

We released it and we just gave it to everybody and said "if you like it, support us, and if you don't? That's fair."

What is clearly on display are two artists, one of whom had previously run a record label, that are far more interested in their art and their fans than they are playing the record label business game. Instead, Run The Jewels decided to give their music away for free, while also setting up a way for their fans to support them by buying the music as well, and it is working. Why? Why would young hip hop fans with internet connections choose to pay for music that was otherwise available for free?

Because Killer Mike and El-P connect with their fans on so many levels -- they treat their fans well, don't take themselves too seriously, and have built up a following that enjoys their work. For example, the whole Meow the Jewels effort from a couple years ago fits right in with our increasingly long list of examples artists connecting with fans and giving them a reason to buy. It started with (of course), offering the music for free, combined with a variety of premium packages -- including the "I'm on the List, Asshole" package, in which you get backstage passes to a bunch of shows, and a promise that El-P and Killer Mike will pretend to be friends with you. But El-P also joked about remixing the album with just cat sounds, called "Meow the Jewels." And their fans took them seriously and put together a Kickstarter campaign. The guys originally felt uncomfortable about this, but eventually embraced it with a plan to donate all the music to charity. And, of course, they did, in fact, make the remix, and it's... actually pretty cool.

But it's not all jokes. Both guys are politically active and outspoken, which has helped build an even stronger connection with those who agree with their political leanings. In addition, the group also still makes all kinds of money off of merchandise and concerts, which has always been a key source for musician income. What's missing is a traditional record label siphoning away money for the kind of marketing efforts the band can now do themselves because of the internet and free music -- which enables a two-way path with the fans. It helps the group connect with the fans and deliver them awesome music, while also allowing the fans to support the artists back. No label needed.

Were the stories told by the labels accurate, we shouldn't even know who Run The Jewels and these two artists are, never mind being able to watch them explode onto the scene in the way they have. This is a success story that needs to be bookmarked and used as a rebuttal against those that say music must not be given away for fear of artists failing to make it.

Filed Under: cwf, el-p, free music, killer mike, rtb, run the jewels

Content Creator Of The Month: Realm Pictures Explores New Ways To Tell Stories Online

from the amazingly-amazing dept

Content Creator of the Month is a new project from the Copia Institute that we'll also be highlighting here. Each month, we'll profile a new content creator who is doing interesting and compelling things, often using the internet in innovative and powerful ways. Here is the very first installment...

A few weeks ago, a couple of friends friends were tweeting about an incredible new YouTube video in which some people created a "real life first-person shooter" and hooked it up to Chatroulette, Skype and Omegle. Random people on the services were transported into this game, which they controlled with their voice. If you haven't watched it, find ten minutes to check it out (or just 5 if you speed up YouTube to 2x speed). It is incredibly detailed, and awesome beyond words: My first reaction was to marvel at how much effort must have gone into setting all of this up. I had initially assumed the "game" couldn't go very far beyond the tiny room where it started — but it goes much, much further. My second thought was about how hard it must have been to coordinate all the sounds, effects and movements (even while recognizing that the final version is cut together from the takes that "worked"). Thankfully, the people behind it — Realm Pictures — also put together a behind the scenes video that reveals the inner workings (and doesn't make the original any less magical): I started looking into the team, and realized I actually knew a bit about them, as this is hardly the first time that Realm Pictures has done cool stuff online. Years back, while based out of their home in Devon in the UK, these guys filmed their very own zombie flick called Zomblies, which they posted for free on YouTube. For a bunch of "amateurs" (at the time), the production value is amazing -- they even got someone to donate time in a helicopter, allowing them to film aerial shots. But there's another important piece of the story: while they were making the film, Realm Pictures was also using the internet to build up a community of people who were interested in the process, with their daily blog about the work acquiring a big following.

David Reynolds, the founder and creative director of Realm Pictures (and the voice in the first person shooter above), told me that "building a community has always been instrumental to both our process and our success with projects thus far." The community has followed them from project to project, such as the team's next giant undertaking The Underwater Realm, a series of five short films with large segments taking place underwater — an incredible challenge for any filmmaker, let alone relatively inexperienced independents. The team originally tried to use wires and a green screen, but realized it just wasn't realistic enough. Eventually someone donated a special casing for a camera, allowing them to actually film underwater (mostly in a local public swimming pool). Here's the first of those films (and they also have a behind the scenes video): In order to make that movie, they also embraced another useful online tool, Kickstarter, to cover some of the production costs, eventually raising over $100,000 (they had sought $60,000). While Reynolds is supportive of crowdfunding, he does worry that it may be peaking, and that "the bubble is beginning to burst, as now it seems that everybody and his dog has a Kickstarter campaign."

One of the things that struck me personally about Realm Pictures is their ability to create visually amazing narrative film projects on relatively small budgets. For many years we've been debating the question of "the $200 million movie," in which traditional Hollywood studios keep asking how they can continue to make movies that require such huge budgets if people are unwilling to pay to watch them. And yet, as we've seen over and over again, technology and basic creativity are enabling the creation of incredible movies for a lot less. Much of Realm Pictures' work shows how that's possible. Still, Reynolds has talked in the past (notably in an interview with Kevin Smith) about being interested in doing a much bigger, Hollywood studio-funded version of Underwater Realm, which he estimates will cost somewhere in that $200 million range. So far, studios haven't been willing to pony up — but Reynolds insists there are lots of fun projects the company will be working on, even as they hope they'll one day be able to create that underwater epic.

Throughout these projects there's a strong thread: building a community and bringing it along for the ride. Reynolds tells me this is very important to how they've been able to succeed and, at the same time, give back to those who have supported them:

It is a practice we hope will always continue through our career, and at the same time give back to the community which has supported us by giving back in the form of a transparent insight into our work and things like the free tutorials we have released on our YouTube channel.

Reynolds points out that, in the end, none of this matters if the content isn't great, and that's always been the key: create great content for your community. Without that, the community won't last either. This is the combination that we've seen work for so many successful creators today. Creating great content is always at the core, and building up a loyal community around it helps spread that content and open new doors.

In terms of this latest video, which went viral super fast (I first saw it when it had about 3,000 views, but now it has over 7 million), Reynolds says it was just a fun project that they did in a weekend, with "one practice run, with a member of our team on a Skype call... to check that the system was working, and then straight into finding strangers on the internet." They ended up doing about 50 runs, with the few players who completed the whole "level" taking about 20 minutes. This is one of the first really "interactive" film experiences I've seen where the interactivity fits right in and doesn't feel forced (though of course now everyone is just watching instead of playing — but watching how others interact still feels kind of interactive). Reynolds points out that they're really just taking what makes video games so engaging, and moving it to video.

Oh, and Reynolds also notes that they're now working on level two of the game, so stay tuned (and maybe start using Chatroulette, if you want to play!)

You can read below for my whole interview with Dave Reynolds of Realm Pictures, our very first Content Creator of the Month.

Filed Under: community, content, crowdfunding, culture, dave reynolds, first person shooter, underwater realm
Companies: realm pictures

CD Projekt Red Does Everything Right With Witcher 3 DRM & DLC...And Breaks Sales Records

from the +1-broad-sword-of-awesomeness dept

If you need an example of a game developer doing something (well, a lot of things) right, look no further than CD Projekt Red and their latest multi-platform role-playing game, Witcher 3: The Wild Hunt. The developers are aggressively breaking all of the usual obnoxious video game industry norms: they're releasing most of the title's downloadable content (DLC) for free (two each week), they've avoided annoying pre-order exclusives, they're receptive to fan feedback, and perhaps most importantly to many gamers, they've taken a repeated, strong and vocal position against DRM.

They're effectively the anti-EA and Ubisoft, and fans are rewarding them for it. Witcher 3 is a gamer darling over at Reddit, reviews have been nothing short of incredible, and the company is breaking sales records with the title without using any of the above-listed annoying tricks of the industry trade:

"Sales of the third part will be many times higher than with our earlier games. Preorders indicate this," CD Projekt's chief executive Adam Kicinski said in an interview. "We broke into the mainstream. It is such a moment in our firm's history that after some years people will look differently at CD Projekt before and after this release." DM BO Brokerage analyst Tomasz Rodak said he saw the new Witcher's yearly sales at 7 million copies, which could bring a record net profit of 369 million zlotys ($97.5 million) in 2015.

And again, they've done it without resorting to the obnoxious, nickel and dime tactics so many game companies have an unholy addiction to.

It's also worth noting the game itself is really, really good. I was one of the few avid RPG fans that found the first two titles to enjoyable but relatively clunky affairs. I'm a sucker for open-world games however, and with the shift of the series to a truly open world, I've been absolutely blown away not only by the sheer size of the game world, but by how fleshed out the storytelling is for a lot of the side quests. It's a fully inhabitable fantasy-nerd paradise. While the writing still stumbles around the usual stale fantasy gender tropes (which scantily-clad sorceress shall I seduce next?), overall it's an incredible accomplishment.

The company's also showing it has a sense of humor. Long critical of DRM, CD Projekt Red's not only not using DRM for the title, it has found marginally-entertaining ways to mock DRM in game. From a grimoire on "Defensive Regulatory Magicon" found by one user while they were busy exploring:The game does have an atrocious, headache-inducing font problem the company's planning to patch, so here's the text:

"The Defensive Regulatory Magicon (or DRM for short) belongs to the above-mentioned group of the longest-lasting, most effective and hardest to break defensive mechanisms. In order to recognize the individual administering it, it makes use of a portal mounted at the entrance of the area it is to defend. This portal passes streams of magical energy through the body of the person entering and can, in the blink of an eye, determine if this person has the corporeal signature (eyeball structure included) of the entitled administrator. As a result, the only unauthorized individuals that can possibly hope to enter are mimics.

DRM thus makes for an extremely effective and near-unbreakable security measure - but you are in luck, for you hold in your hands the key to bypassing it, namely the present tome, Gottfried’s Omni-opening Grimore, or GOG for short. In the pages to follow you will find innumerable methods for deactivating DRM, or, even better, bypassing it altogether (…)"

A Bill Hicks level joke it ain't (GOG is also short for DRM-free games outlet Good Old Games, run by CD Projekt), but the full quest is notably more amusing, with said "DRM" trapping the owner of the magic technology in a tower after failing to recognize him. Not only is CD Projekt Red doing everything right in regards to DLC and DRM, it's doing it with a little flair. Offer a great product, treat your customers well, don't obnoxiously nickel and dime people like it's going out of style, and customers respond positively. Who the hell knew?

Filed Under: dlc, drm, fan friendly, witcher 3
Companies: cd projekt red

Tidal's Failure: A Reminder To Musicians That It's Not Easy To Build A Successful Streaming Service

from the seeeeee? dept

It's become commonplace in some parts of the legacy content industries to hate on basically any successful internet service that brings creative content to the public in a way that people actually like. We see attacks on Spotify, Netflix, Pandora and more for "not paying enough," and demands from those companies that they need to pay more. As we've noted, this often takes the form of trying to kill the golden goose. Almost always implicit in these discussions is the idea that the service itself is worthless and that all of the value comes from the content. That these services deserve to make any money at all is seen as some sort of insult to the copyright holders. The underlying belief here is that the service part is easy.

But, of course, that's wrong. Lots of services try and fail to capture the public's imagination. The content is important (and all of these services pay huge amounts of money -- often way more than half of their revenue to the copyright holders) but building a service people actually want to use is not an easy task. When those who think otherwise jump in and think they can simply "build their own" such service, you hope they would slowly start to understand this point.

You may recall that Jay-Z recently bought and relaunched a music streaming service, naming it Tidal. The whole rollout had severe issues, some of which Mike outlined in the post linked above (the lack of any free tier), and some issues I had myself that dovetail with Tidal's entire marketing platform. You see, Tidal's message was all about how artist-friendly it would be, working itself into a froth over being the anti-Pandora/Spotify/Whatever service, which were all demonized as not paying artists nearly enough money for their music. Which, fine, whatever, it's a message of a sort, I suppose. But to roll that message out with marketing ads featuring insanely wealthy musicians in designer clothes all getting together to talk about ushering in a new service designed to generate more money for themselves (and perhaps newer artists too)? Look, there's nothing wrong with being rich, but that's just bad PR.

And, after the first several weeks since its debut, it seems like Tidal is less a wave and more a ripple.

Tidal is now the 50th most popular music app in the iTunes store, and doesn't even crack the top 700 overall. Any hot new app will see a big drop in downloads after the hype from its launch dies down, but it doesn't look like Tidal was all that hot to begin with. It briefly peaked at #19 overall before falling out of the top 200 less than two weeks later.

Meanwhile, its competitors are surging: Pandora is at #7, Spotify is at #34, and Beats Music just broke the top 50. Even circa-2013 Spotify challenger Rdio is seeing more downloads than Tidal this week.

Not a good showing, especially given all of the star-power behind it. But let's not treat this by dancing on any freshly dug graves. That would be premature anyway, since we are only talking about a couple of weeks worth of market time here. Regardless of that fact, what this should do is teach some artists an important lesson about the difficulty of providing a music streaming platform, the market forces that decided the winners and losers, and the value that a good streaming service brings both to customers and to artists alike.

The whole campaign against Pandora and Spotify has been insane since the very beginning. Streaming services that provide a useful way for customers and potential customers to find, listen to, and to become fans of artists and their work were demonized as greedy technocratic regimes designed solely to make sure singers didn't have enough bus-fare to get home at night. That was silly, of course, as one look at the amount of income those streaming services generate versus what artists wanted in terms of royalties, but the whole thing was really begging for a "If you think it's so easy, come up with your own service" rebuttal. Jay-Z tried to take this on. It's starting to look like he failed.

Failure is okay, but only if you learn from it. The very thing that Tidal failed to offer is what makes the other services so popular.

Some of Tidal’s problems were apparent to anyone who is not a wealthy member of the illuminati or close personal friend of Jay Z: its main value proposition was that, for only 10 dollars a month more than you’re paying for Spotify—that’s just two Starbucks lattes!—you can feed and clothe the famous multimillionaires you see on your screen. But it also had some less obvious flaws, like a very shittily-designed app with broken search functionality and a marketing message—attacking those other, non-artist-benefitting streaming services—that seems to have helped Spotify more than it helped Tidal.

Combined with no free tier, the single selling point for Tidal appeared to be appealing to the masses to use a service that pays artists more money than the others. It didn't work. Not because people do not want artists to succeed, but because the other services work better than Tidal and the artists pimping Tidal did nothing to connect with customers. It was a plea, entirely one-sided, with nothing additional offered to the customer. That's the lesson: streaming services aren't as easy to do as these artists thought. Now let's see if they do anything with that lesson.

Filed Under: innovation, jay-z, streaming music
Companies: tidal

Joss Whedon Shows How Being Awesome Rewards Creators

from the gifted-awesomeness dept

Joss Whedon has long held a special place in the hearts of geeks. And not only for producing some real cultural gifts, such as Firefly and the Avengers movies. On top of those achievements, he's also been fairly proactive when it comes to embracing digital business models and treating fans with an unmatched level of awesomeness.

With that in mind, it may not come as a huge shock when David Cortright writes in about Whedon going to some great lengths to show fans his appreciation while also giving them a reason to watch his latest short film and generating a ton of goodwill marketing on top of it.

Most filmmakers are grateful for the support of their audience, but for the past few weeks, Joss Whedon has really been demonstrating his gratitude. Last month, Whedon announced at the Tribeca Film Festival premiere of In Your Eyes — the supernatural romance starring Zoe Kazan and Michael Stahl-David and directed by Brin Hill (Ball Don’t Lie), which Whedon wrote and executive produced — that fans could watch the film immediately by renting it for $5 through Vimeo. Since then, Whedon’s filmmaking team has been secretly sending thank-you gifts to a random selection of fans who have streamed the movie.

Those gifts have ranged from planted cacti to cooking grills all the way up to Apple TVs and Xbox Ones. Those thank you gifts were also distributed not only in the United States, but as far away as the UK, Germany, New Zealand and Dubai. How do we know about all this? Was it because Whedon and his team went out of their way to operate this system as some kind of bribery contest to get people to watch the film? No. Instead, we're learning about it because recipients of the thank you gifts are going out of their way to thank Whedon and sharing the acts of awesomeness on social media.

@adriaanbloem: Rented #inyoureyes on Vimeo, and they then sent a "small token of appreciation": an Apple TV! Smart marketing because yes, I'm tweeting this

It's a hell of a promotional tool, to have some of your biggest fans get the word out both about your movie and the kind of behavior that can't help but breed goodwill and positive marketing. In other words, like anything else, this isn't so much altruism as combined marketing efforts between a producer and fans that results from being awesome. By gifting a small and somewhat random number of viewers of a small film, suddenly you have a flurry of attention being paid where otherwise there might be little.

“The idea was we’re doing something a little different, and we just want to say thank you,” said Roiff. “Someone said on social media, like, ‘Oh, it’s almost like they got Kickstarter backwards and they’re doing it in reverse.’ That is sort of what we’re doing, saying, you know what, this is working out, and we want to say thanks and give something back, and try to keep people talking so we can keep doing it this way.”

It's working and it's a lesson to other creators and artists about how much benefit can be garnered simply by treating their fans well.

Filed Under: being awesome, connect with fans, joss whedon

Double Fine Unchains Game IP, Fans Work To Make The Game For Them

from the the-finer-things dept

In the realm of both embracing new business models in video games and generally being an all around awesome company, it doesn't get a whole lot better than Double Fine. If we were to write a playbook for a gaming company, it would probably read like Double Fine's history, from producing enormously entertaining games, to embracing crowd-funding models, to treating their fans in a manner too rare in their industry.

Reader Leo Loikkanen writes in about the latest example of the company's impressive actions, which involve an attempted game called Bad Golf 2 (there never was a Bad Golf 1, so don't go looking for it), left unpublished until fans picked up the concept and decided to make the game themselves.

Perhaps Bad Golf 2 will prove to be the One Direction of Double Fine's latest Amnesia Fortnight prototype-off. Not selected as a winning project in the X-Factorish voting, it seemed destined to never become a reality – until fans decided to make it anyway. And now it's generating more headlines than any of the "official" picks did.

That's because fourteen fans of Double Fine are collaborating on the company's own website to produce this game themselves. So, instead of the game never being produced, it will be realized by dedicated and passionate fans. While many companies might go berserk over this, Double Fine is not your average company. From the top down, everyone seems thrilled.

BG2 ideasmith Patrick Hackett, a ‘tech guru’ at Double Fine, told Eurogamer that “Personally, I was flattered by the idea that people would want to collaborate to make a game idea of mine. I really couldn’t have been more excited to hear about this idea and told them I’d support them as much as I could.”

“As for it being Double Fine’s property – Greg and I brought the situation up to Tim and Justin and they approved of the idea, citing that any production should remain in the creative commons. Because of that, the project’s source control repository is available for free and the final product will never be sold.”

This very specifically bucks every rebuttal typically offered by those that advocate for strong and stronger protection of intellectual property. Somehow, a company is giving free access to their own source code for a game based on IP the company developed, and is happy about doing so, while fans of the company are creating the game under the full knowledge that there won't be any monetary compensation. How could any of that be possible if we relied on the words of Electronic Arts and their ilk?

The answer is that creation and collaboration are a natural part of the human psyche, and they're spurred on when the collaborating parties all treat one another like human beings. Meanwhile, Double Fine is already taking an interest in the project's success as an avenue to then release their own Bad Golf 3 game, should the project pan out. Everyone wins, all because nobody brought the legal hammer down to protect their intellectual property and managed to treat their fans like human beings.

Filed Under: bad golf 2, collaboration, development, video game
Companies: double fine

Warner Bros. Turns A Kickstarter Success Story Into A Flaming Mess With Proprietary Platforms And DRM

from the how-not-to-do-it dept

Almost exactly a year ago, we wrote about a rather encouraging development in filmmaking, highlighting the story of Warner Bros. film studio working out a deal with the producer and actors of the popular Veronica Mars TV show, that if they could prove demand for a film via Kickstarter, Warner Bros. would fund the rest of the film. Basically, Warner Bros. had been unconvinced that there was enough demand for a movie to finance it upfront. But, with tools like Kickstarter today, you can prove demand upfront, taking away a big part of the risk. And that's exactly what happened, as the project raised over the $2 million target very quickly, and eventually brought in $5.7 million. Part of what was interesting about this was it showed how movie studios could actually embrace crowdfunding as well, creating some interesting hybrid models that don't always involve some studio head deciding what people will and won't like.

The movie came out last week to very good reviews... but leave it to Warner Bros. to totally muck it up, screw over the goodwill from all those backers and scare people off from such future collaborations. That's because one of the popular tiers promised supporters that they would get a digital download of the movie within days of it opening. But, of course, this is a major Hollywood studio, and due to their irrational fear of (oh noes!) "piracy" they had to lock things down completely. That means that backers were shunted off to a crappy and inconvenient service owned by Warner Bros called Flixster, which very few people use, and then forced to use Hollywood's super hyped up but dreadful DRM known as UltraViolet.

The end result? A complete disaster for the film's biggest fans and supporters:

“My first and last time using Flixster or Ultraviolet,” Jennifer Gottried wrote. “Not happy about what a pain the digital “download” is, but loved the movie!” Carolyn O'Neill said she felt “ripped off,” adding “I will not be supporting anything VMars related in the future, and may never support a similar Kickstarter project again.”

Others labeled Flixster “unreliable,” “crap,” “slow” and “punishing.” There are those who downloaded the movie without a hiccup, and those who did have been effusive in their praise. Yet the majority expressed dismay....

Reading through the comments shows an awful lot of angry folks, with lots of blame being directed at Flixster, and some people angry that the creator of Veronica Mars, Rob Thomas, let this happen. He eventually posted that while he had "hoped" that Warner Bros. would allow more options, "unfortunately, it just wasn't possible. In the end, Flixster was the best option for getting the digital movie reward out to all of you, worldwide, at the same time." There may be something to do with regional restrictions, yet in the comments, you see people claim that when they tried to get their digital copy, they were told, "Sorry, the redemption code you have entered is not valid for the territory you are currently trying to redeem from." So, it's not clear how Flixster actually solves that global issue. Multiple people in the comments note that they eventually just gave up getting the authorized version and hit up unauthorized sources instead.

Eventually, Warner Bros. announced that it would provide refunds to backers who had trouble getting the digital download, which seems like the least it could do, given the situation. But, the end result appears to have left a sour taste in a lot of peoples' mouths. So, way to go, legacy Hollywood, for taking an exciting success story of internet-empowered opportunity, and destroying it with crappy and lame proprietary platforms and restrictive DRM. Once again, you show how to screw up just about every opportunity handed to you.

Filed Under: crowdfunding, digital downloads, drm, rob thomas, ultraviolet, veronica mars
Companies: flixster, kickstarter, warner bros.