Hi Matt,
Well play! By my calculations your offer means, based on your purchases from us last year, that you are ready to order 290 titles from us for $60 each (and without PPR). Our only stipulations would be a) no titles from this or last year, and b) place your order before Labor Day! Deal? Meredith Miller Icarus Films 32 Court St, 21st Floor Brooklyn, NY 11201 P: 1.718.488.8900 F: 1.718.488.8642 E: [email protected] www.icarusfilms.com <http://www.twitter.com/icarusfilms> www.twitter.com/icarusfilms <http://www.facebook.com/icarusfilms> www.facebook.com/icarusfilms From: [email protected] [mailto:[email protected]] On Behalf Of Ball, James (jmb4aw) Sent: Friday, July 01, 2011 12:39 PM To: <[email protected]> Subject: Re: [Videolib] How do you know when you¹ve become an artist?] Just got my first offer from a distributor who wants to work on flexible pricing. Who else is interested? Matt ______________________________ Matt Ball Media and Collections Librarian University of Virginia [email protected] 434-924-3812 On Jul 1, 2011, at 12:36 PM, "Ball, James (jmb4aw)" <[email protected]> wrote: "If the library community wants to figure out a way to assure distributors they will literally sell 10 times the number of copies if they sell titles at $30 a pop, I guarantee you distributors would jump at the chance." It's not up to the library community to make assurances for the distributors, but together we can figure out a pricing model that's mutually beneficial. It is interesting that you mention Kino because they are one of the few distributors I know of that do follow my suggested pricing model, around $30.00 with no PPR, and I can tell you that I bought a lot more from them last year than I did from the other distributors. As for the 10 times guarantee, I just made that very promise. And I'm even flexible on the price. How about $60.00 with no PPR? Erika's offer looks pretty interesting too. Anybody want to take a test drive? Matt ______________________________ Matt Ball Media and Collections Librarian University of Virginia [email protected] 434-924-3812 On Jul 1, 2011, at 11:33 AM, "Jessica Rosner" <[email protected]> wrote: Trust me, educational distributors would be thrilled if they could sell copies at $30 and basically make the same sum at selling it at $300, but it will never happen. I don't doubt you and James will buy a copy of films you would not otherwise, but many educational titles deal with very specialized subjects and they are not going to sell 2.000 copies. Keep in mind that it would also require a lot more time & money from a company and the real kicker is they would still have to only do direct sales, nearly all to institutions. In order for a film to be really retail they would have to sell 20 times as many copies since wholesalers would take up to 50% of the price. Years ago I did a little experiment at Kino to see if there could be a middle ground. I curated a 3 title collection of silent films directed by women. I believe it was something $50 for institutions and $25 for individuals per title with a discount for the set. Sold about 200 at $50 each( or less as a set) did come close to covering the costs and a few dozen to individuals. Luckily there had been a TV sale which allowed me to fund the project. I thought $50 and $125 seemed like a nice middle ground but in truth had I sold them two or three times that, they would have made more money. Most of the institutions would still have purchased them and more than made up for some that would not have. If the library community wants to figure out a way to assure distributors they will literally sell 10 times the number of copies if they sell titles at $30 a pop, I guarantee you distributors would jump at the chance. Filmmakers would be especially happy because there films would be seen by more people. Sadly it is just not realistic for the vast majority of educational films and small distributors are not going to cherry pick one mildly popular title try to sell it for a lot less. On Fri, Jul 1, 2011 at 10:36 AM, Peterson, Erika Day - petersed <[email protected]> wrote: Hear, Hear. Jessica is correct in saying that there's a limited market for the films independent distributor's deal with. We, the librarians, know that better than anyone because there's limited viewership for those titles once they're in our collection. It's impossible for me to justify purchasing a film for my collection that costs $200, $300, $400 or more just because *I* think it looks like a worthy title. It has to be for a direct and immediate academic need. Then there's the added temptation once we do have it, to lock-it up like it's the Hope Diamond, because we paid a small fortune for it. Thus, even further reducing the film's exposure to a broader audience. If I could purchase films for $30, no PPR, I would buy a lot more titles and be marketing them to my academic community much more aggressively. In fact I'm willing to pinky swear that I will spend the same amount of money OR MORE this fiscal year as my average over the last five years with any distributor that will make this deal. Erika * * * * * * Erika Peterson Director of Media Resources Carrier Library, James Madison University (540) 568-6770 <tel:%28540%29%20568-6770> http://www.lib.jmu.edu/media From: James Ball <[email protected]> Reply-To: <[email protected]> Date: Fri, 1 Jul 2011 14:13:23 +0000 To: "<[email protected]>" <[email protected]> Subject: Re: [Videolib] How do you know when youve become an artist?] 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] 434-924-3812 On Jun 24, 2011, at 8:13 PM, "Jessica Rosner" <[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, <[email protected]> wrote: ---------------------------- Original Message ---------------------------- Subject: Re: [Videonews] How do you know when youve become an artist? From: [email protected] Date: Fri, June 24, 2011 4:31 pm To: "Video Library News" <[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> [email protected] > "Wind, regen, zon, of kou, > Albert Cuyp ik hou van jou." > ********************************* > > ----- Original Message ----- > From: jwoo <[email protected]> > Date: Friday, June 24, 2011 12:33 pm > Subject: Re: [Videonews] How do you know when youve become an artist? > To: Video Library News <[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 [email protected] 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 [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. -- 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. 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. 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.
