I think this is kind of different group of films Elizabeth. They do play in theaters and they will be released in the home market. While I understand some institutions may want to get PPR or buy them before they are available in the retail market, the issue for me is films that sadly have little or no retail market or ancillary rights .
On Fri, Jul 1, 2011 at 12:31 PM, Elizabeth Sheldon <[email protected] > wrote: > Matt, James and Gary, > > This discussion is very timely as we are currently reviewing our pricing > structure, both for PPR, non PPR to institutions and digital site licensing. > We are aware that budgets for PPR are diminishing and that many institutions > do not require the license since the DVDs are circulated only to individuals > and not shown to non-admission paying groups. Last year we introduced non > PPR pricing for many of our docs which, while not $30, sought to address the > needs and budgets of the institutional community. > > As a distributor of many critically-acclaimed theatrically-released films > and documentaries, such as City of Life and Death, United Red Army, Film > Socialisme and Raw Faith (of which you will be hearing more about next > week), we consider the institutional market a primary audience for our > films. Starting next week, we will be offering our films day-and-date with > the theatrical release for purchase with PPR and for one-time Community > Screenings. Once the film is no longer actively being promoted to the the > theatrical market, we will then offer the films without PPR for a > substantially lower price. Currently, our PPR licenses are $249 and our non > PPR institutional and library sales are $149. Eventually, many of the titles > will be released into home video, at which time they are available at $30 to > all without PPR. James, I would be happy to send you a list of all of our > films available without PPR for $30. PPR licenses will remain at $249. For > those looking to place larger orders with us (five or more films) without > PPR, we are always happy to offer discounts. Our goal as a distributor is, > to quote Matt, to be the primary source of "...amazing content at a cost > that aligns with a pricing model that's supportable under the constraints of > my institution's collection development strategies and budget priorities." > > As Gary says though, the needs of the institutional market are changing and > the demand for digital site licenses increasing as budget dollars are re > directed from DVD to digital. We are currently revising our digital site > licensing prices. While we will continue to offer substantially less > expensive short term digital site licenses for those teachers who need a > film for one semester, the majority of our films will be available with > perpetual digital site licenses on an a la carte and collection basis. Stay > tuned. > > And happy Fourth of July. > > Best, > > Elizabeth > > Elizabeth Sheldon > Vice President > Kino Lorber, Inc. > 333 W. 39th St., Suite 503 > New York, NY 10018 > (212) 629-6880 > > www.kinolorberedu.com > > On Jul 1, 2011, at 11:27 AM, [email protected] wrote: > > > It has become increasingly clear to me (particular over the past three > > years) that the existing pricing model for indie docs is simply not > > viable. > > The $250-$450 gambit for indie docs will, I'm afraid, not continue to > fly, > > even for moderately large and stable budgets such as mine (the large and > > stable being more and more relative every day). I've been around long > > enough to understand and support the need for higher pricing in the indie > > doc sector, but the ground rules for collecting in both public and > private > > institutions are changing and will continue to change in the face of > > economic hard times. I find myself increasingly "pulling my punches" > when > > it comes to shelling out for indie docs. Where, at one time, I used to > > think nothing of shelling out $300 based on anticipated use (i.e. > > just-in-case use), now I'm more than a bit gun shy to pay such prices for > > stuff that may not get used in the short-haul. > > > > I think $30 per shot is not really reasonable...but neither is $300. > > Somehow the model has to change--both for physical media such as DVDs and > > online delivery. > > > > gary > > > > > >> A lot of the collecting I do is based on faculty requests but they're > >> requesting Glee and Twilight. An equally large chunk of the collecting > I > >> do, though, is based on what I think we *should* have to support broader > >> curricular needs, and a lot of that comes from distributors like > Bullfrog, > >> Icarus, Women Make Movies, etc. But those titles are so expensive that > I > >> can only afford to buy a few per year. > >> > >> However, if independent documentary filmmakers sold their films for > $30.00 > >> each I would increase my total purchases from them times ten, probably > >> more. I'm not kidding. Nothing would make me happier than flipping > >> through catalogs with a shiny red marker circling all of the titles I > >> would love to have. For me, I would be getting amazing content at a > cost > >> that aligns with a pricing model that's supportable under the > constraints > >> of my institution's collection development strategies and budget > >> priorities. For the filmmakers and distributors it means that I would > be > >> buying more titles, possibly multiple copies, of videos that I wouldn't > >> have even considered before, and if I'm willing to do that then I bet > >> there are at least four other media librarians who'd do the same. > >> > >> There, the filmmakers are still making money (maybe more) and the > >> visibility of their films has increased five-fold. Or is it four? > >> Anyway, you see my point. > >> > >> Elizabeth, Meredith, Karen, are you interested? $30.00 per title, no > PPR, > >> and I promise to buy at least 10 times the number of titles I bought > last > >> year. > >> > >> Or perhaps there's another mutually beneficial pricing model out > there... > >> > >> Matt > >> > >> ______________________________ > >> Matt Ball > >> Media and Collections Librarian > >> University of Virginia > >> [email protected]<mailto:[email protected]> > >> 434-924-3812 > >> > >> On Jun 24, 2011, at 8:13 PM, "Jessica Rosner" > >> <[email protected]<mailto:[email protected]>> wrote: > >> > >> As someone who works with independent documentary filmmakers, let me > tell > >> you they would be THRILLED to sell their films at $25 or $30 if they had > a > >> chance in hell of selling 5 times as many as they would at $250. The > >> subject matter is generally geared towards the academic community or at > >> least not to the popular topics that sell in the thousands and they have > a > >> lot of expenses to recoup and it is a bitch to distribute. These are > >> simply not the same as the more popular $19.95 to $29.95 videos you will > >> find at the retail level and keep in mind the distributor only gets back > >> 60% or so on thing sold through third parties like Amazon. I assure you > if > >> 1500 institutions would actually buy a wonderful series of films on the > >> post genocide justice system in Rwanda or even one on Gerrymandering ( > to > >> plug the ones I deal with) the directors would be over the moon to sell > >> them for $25 knowing more people could see them. When good documentaries > >> are carried by public libraries at a fraction of the rate of bad action > >> movies then you will see a huge drop in prices, heck if just one in > every > >> 500 university libraries bought them you would see the same. > >> > >> On Fri, Jun 24, 2011 at 7:31 PM, > >> <<mailto:[email protected]>[email protected] > <mailto:[email protected]>> > >> wrote: > >> > >> > >> ---------------------------- Original Message > ---------------------------- > >> Subject: Re: [Videonews] How do you know when you’ve become an artist? > >> From: <mailto:[email protected]> > >> [email protected]<mailto:[email protected]> > >> Date: Fri, June 24, 2011 4:31 pm > >> To: "Video Library News" > >> <<mailto:[email protected]>[email protected] > <mailto:[email protected]>> > >> > -------------------------------------------------------------------------- > >> > >> Problem isn't solved if the expensive title they've taken out and lost > is > >> out of distribution. > >> > >> All depends on the mission of your collection (and whether preservation > >> for long-haul to support teaching and research is part of it) > >> > >> Gary (who's cool in Berkeley) > >> > >> > >> > >> > >> > >>> At the University of Southern California we have in our collection > >>> at least 750 documentary films costing $250 or more. And no effetism > >>> here. All such films fully circulate. And if a student happens > >>> to lose such an item then said student is fully obliged to reimburse > the > >>> costs of the film. Problem solved--and it is a policy that seems > >>> very much to work for us. > >>> > >>> And greetings from ALA and New Orleans! > >>> > >>> Cheers! > >>> Anthony > >>> > >>> ******************************* > >>> Anthony E. Anderson > >>> Social Studies and Arts & Humanities Librarian > >>> Von KleinSmid Library > >>> University of Southern California > >>> Los Angeles, CA 90089-0182 > >>> (213) 740-1190<tel:%28213%29%20740-1190> <mailto:[email protected]> > >>> [email protected]<mailto:[email protected]> > >>> "Wind, regen, zon, of kou, > >>> Albert Cuyp ik hou van jou." > >>> ********************************* > >>> > >>> ----- Original Message ----- > >>> From: jwoo <<mailto:[email protected]>[email protected]<mailto:[email protected]>> > >>> Date: Friday, June 24, 2011 12:33 pm > >>> Subject: Re: [Videonews] How do you know when you’ve become an artist? > >>> To: Video Library News > >>> <<mailto:[email protected]>[email protected] > <mailto:[email protected]>> > >>> > >>>> I like this video a lot, but because the institutional price is > >>>> $250, it's in the "rare book" section of my library and students > >>>> never bother to page it for in-library viewing. If the library > >>>> were able to purchase a home-use copy for $30, the video could be > >>>> placed in the circulating section, and I'm sure many more students > >>>> would enjoy and benefit from the production. IMHO, this is how > >>>> filmmakers shoot themselves in the foot. Very few people are going > >>>> to see their work if it's priced for effetes only. > >>>> > >>>> > >>>> On Jun 23, 2011, at 1:54 PM, Working Title Info wrote: > >>>> > >>>>> WORKING TITLE: Career, Identity and the American Artist > >>>>> > >>>>> WORKING TITLE offers insight and inspiration to students of all > >>>> ages who aspire to follow the courageous path to professional > >>>> careers in the arts. By offering a rare and honest glimpse into the > >>>> daily lives of five diverse visual and performing artists, the film > >>>> asks important questions, from the practical (how do you support > >>>> yourself as a professional artist?), to the personal (how might > >>>> this career choice affect your personal relationships and other > >>>> life choices?) to the philosophical (how do you know you are an > >>>> artist, and how do you make peace with that knowledge and come to > >>>> embrace it as central to your identity?). This film is a "must- > >>>> have" for arts educators, and it gave the undergraduate students at > >>>> my university new-found confidence to nurture and celebrate their > >>>> artistic aspirations. ~ Paula Birnbaum, Ph.D., Assistant Professor, > >>>> Department of Art + Architecture, University of San Francisco. > >>>>> > >>>> > >>> > >>> VIDEONEWS is an electronic clearinghouse for information about new > >>> services, products, resources, and programs of interest to video > >>> librarians and archivists, educators, and others involved in the > >>> selection, acquisition, programming, and preservation of video > materials > >>> in non-profit settings. The list is open to all interest individuals > and > >>> list submissions are unmediated. However the list owner reserves the > >>> right > >>> to revoke subscriptions to the list in cases where the intent of the > >>> list > >>> is routinely violated or where general listserv etiquette and protocol > >>> are > >>> infringed. > >>> > >> > >> > >> Gary Handman > >> Director > >> Media Resources Center > >> Moffitt Library > >> UC Berkeley > >> > >> 510-643-8566<tel:510-643-8566> > >> <mailto:[email protected]>[email protected] > <mailto:[email protected]> > >> <http://www.lib.berkeley.edu/MRC>http://www.lib.berkeley.edu/MRC > >> > >> "I have always preferred the reflection of life to life itself." > >> --Francois Truffaut > >> > >> > >> Gary Handman > >> Director > >> Media Resources Center > >> Moffitt Library > >> UC Berkeley > >> > >> 510-643-8566<tel:510-643-8566> > >> <mailto:[email protected]>[email protected] > <mailto:[email protected]> > >> <http://www.lib.berkeley.edu/MRC>http://www.lib.berkeley.edu/MRC > >> > >> "I have always preferred the reflection of life to life itself." > >> --Francois Truffaut > >> > >> > >> VIDEOLIB is intended to encourage the broad and lively discussion of > >> issues relating to the selection, evaluation, acquisition,bibliographic > >> control, preservation, and use of current and evolving video formats in > >> libraries and related institutions. It is hoped that the list will serve > >> as an effective working tool for video librarians, as well as a channel > of > >> communication between libraries,educational institutions, and video > >> producers and distributors. > >> > >> > >> > >> -- > >> Jessica Rosner > >> Media Consultant > >> 224-545-3897 (cell) > >> 212-627-1785 (land line) > >> <mailto:[email protected]>[email protected]<mailto: > [email protected]> > >> > >> VIDEOLIB is intended to encourage the broad and lively discussion of > >> issues relating to the selection, evaluation, acquisition,bibliographic > >> control, preservation, and use of current and evolving video formats in > >> libraries and related institutions. It is hoped that the list will serve > >> as an effective working tool for video librarians, as well as a channel > of > >> communication between libraries,educational institutions, and video > >> producers and distributors. > >> VIDEOLIB is intended to encourage the broad and lively discussion of > >> issues relating to the selection, evaluation, acquisition,bibliographic > >> control, preservation, and use of current and evolving video formats in > >> libraries and related institutions. It is hoped that the list will serve > >> as an effective working tool for video librarians, as well as a channel > of > >> communication between libraries,educational institutions, and video > >> producers and distributors. > >> > > > > > > Gary Handman > > Director > > Media Resources Center > > Moffitt Library > > UC Berkeley > > > > 510-643-8566 > > [email protected] > > http://www.lib.berkeley.edu/MRC > > > > "I have always preferred the reflection of life to life itself." > > --Francois Truffaut > > > > > > VIDEOLIB is intended to encourage the broad and lively discussion of > issues relating to the selection, evaluation, acquisition,bibliographic > control, preservation, and use of current and evolving video formats in > libraries and related institutions. It is hoped that the list will serve as > an effective working tool for video librarians, as well as a channel of > communication between libraries,educational institutions, and video > producers and distributors. > > > VIDEOLIB is intended to encourage the broad and lively discussion of issues > relating to the selection, evaluation, acquisition,bibliographic control, > preservation, and use of current and evolving video formats in libraries and > related institutions. It is hoped that the list will serve as an effective > working tool for video librarians, as well as a channel of communication > between libraries,educational institutions, and video producers and > distributors. > -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) [email protected]
VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors.
