With so many things in flux, it’s not always easy to know which method of fan support will have the biggest impact. That’s why we figured it might be useful to take a look at some of the ways you can support your favorite artists and how it can positively impact those musicians’ bottom lines — directly or indirectly.

1. Go see your favorite bands play live. In the music industry, an artist is rarely handed money directly. In pretty much every other situation, a band gets its cut of revenues only after everyone else in line is paid. (And that can be a long line!) But when it comes to playing live, most get paid right when the night is over. Because of this I say that if you are friends with a band and they offer to put you on their guest list, you should… Decline! Pay instead! You will show your class in spades.
2. When you go see shows, buy hard copies of your favorite bands’ music. Most smaller signed artists get “tour support” from their record label in the form of free records to sell at shows. Buying a CD from the band means they can buy gas to get them to the next gig. Conversely, if they don’t sell them, all they’re really doing is wasting gas driving them around the country. So if you are offered a free CD or vinyl LP (because naturally they want you to hear their music, right?), opt to pay for it. You are doing the right thing, and saving them from themselves.
3. Buy your favorite bands’ merchandise. Very often, artists pay for their t-shirts themselves, or even MAKE them with their own hands. This means that they did, in fact, shell out the money for materials, and possibly someone else’s labor if they used a printer. Help them break even, or maybe even turn a profit! This is another rare opportunity in the scheme of things for the musicians to be first in line. Help them out!
4. Purchase downloads legitimately. Purchasing digital downloads from services like iTunes, Amazon, eMusic or Rhapsody also puts money in artists’ pockets. When it comes to digital downloads, there’s a wide spectrum of rates, and some artists profit more than others. Although there’s a common assumption that artists only make pennies on their iTunes or Rhapsody sales, this depends entirely on the label/distribution situation. The more independent an artist is — and certainly if the artist is unsigned and they self-released using Tune-Core (a service that doesn’t take a cut of the sales) the greater the percentage they stand to make from the download.
5. Use a legitimate streaming service such as Rhapsody, Napster, Pandora or Spotify (not yet available in the US). If you require an unfathomably large collection of music, this is the way to go. Not only are they safe for your computer, but since these services are properly licensed, the songwriter, publisher, performer and copyright owner (usually a record label) get paid for each stream of their song. It’s currently a small amount, but if you play it again and again, it adds up! Beyond payment, there are many valuable statistics and web metrics an artist can access when you use these services. This way, they know where people are digging their stuff and can plan their tours and releases accordingly.
6. Contribute to Band Fundraisers – Gone are the days of record advances, at least for new artists. Unfortunately, this is how they paid to record and to go on tour. Now, many artists are using fundraising sites such as Kickstarter.com to raise money in advance of these activities. Enjoy the opportunity to support the music you love before it even gets made! Another huge class act!
7. Subscribe to artists’ fan clubs. By doing so, you not only get first access to news and tour dates, you also help to legitimize and support one of the smartest, most industrious things an artist can do for their career.
8. Join a band’s email list. By simply becoming a fan on their Facebook Fan Page, or their Myspace Page, the artist doesn’t have your data, Facebook and Myspace do! If for some reason they lose their account with either, they lose you and you lose them. It’s a simple process, and most artists know not to email you constantly!
9. Support nonprofits that support musicians. I can truly say that far too few musicians are participating in conversations about where this industry is going. The inevitable result will be that musicians, again, end up at the far end of the line. Organizations such as (..ahem….) Future of Music Coalition, Weathervane Music and others are staffed by people who are dedicated to making sure that artists can achieve sustainable and lucrative careers in music.
10. Stop using Torrent sites. Go back and buy the records of the artists you fell in love with by using Torrent sites. The simple act of paying for the music that you love will surely buy back your ticket to heaven. And of course, we don’t even need to go into the dangers of downloading from Torrent sites, anyway.

This post originally appeared on www.futureofmusic.org

Brian McTear is a musician, producer, recording engineer and the owner of Miner Street Recordings, the Philadelphia recording studio revered by independent musicians around the country. In the 13 years that McTear has worked in Philadelphia, he has produced over 100 records, has played a large part in the resurgence and success of the independent music community in Philadelphia, and the national and international success of several recording artists. McTear writes songs and sings in the band Bitter bitter weeks, and plays guitar with The Novenas.

Special Note for those in LA: Scott Kirsner and Peter Broderick will be holding a
DISTRIBUTION U.: A One-Day Crash Course on the New Rules of Marketing & Distribution
@USC / Los Angeles
Saturday, November 7th, 9:30 AM to 5:30 PM
10 % discount for friends of the Workbook Project
http://distributionu.eventbrite.com/?discount=wbp

Ten people dressed in stark white “clean suits” and masks disperse amongst picnickers, inspecting the ground in sunny Central Park. Heads turn, unsure, and people start asking questions. Undetermined Measurements is an ongoing performance and documentation project. During each phase of the interventionist series volunteers gather, dress in protective clothes and silently engage with the audience in a non-confrontational manner. Why are they there? The question is left open ended, expressing the ever-changing perception that the United States has transformed from a unique symbol of freedom to a more fragile and fearful representation of uncertainty. We follow Sean Hovendick and his team as he takes Undetermined Measurements to NYC for the first time.

Relevant sites:

www.studiofusion.com ::

Credits:

CREATED & PRODUCED by Lance Weiler & Alex Johnson
CREATIVE DIRECTOR Alex Johnson
DIRECTORS Ryan Bilsborrow-Koo & Zack Lieberman
EDITOR Josh Cramer
ASSOCIATE PRODUCER Janine Saunders
DP Ryan Bilsborrow-Koo
SERIES MUSIC T. Griffen
FEATURED MUSIC AristeiA “I’ll Take Mine Black”
TITLE SEQUENCE Jordan Gray
POST PRODUCTION House of Trim

House of the Devil arrives just in time for Halloween in a VOD on-demand / theatrical release by Magnolia. Also launching today is a webseries which West created for IFC entitled Dead & Lovely.

To listen NOW click the play button below.

The following is the current program listing. There are two very special guests who we’ll be announcing in the coming weeks. And as always if you’re interested in lending a hand we’re always looking for volunteers work [@] workbookproject [dot] com. It’s the volunteers who help to make the events possible and also allow us to make them FREE.

SPEAKERS

The following speakers are confirmed for DIY DAYS LA.

Jesse Alexander (Heroes, Lost, Day One) :: Elan Lee (4th Wall Studios) :: Lance Weiler (The Last Broadcast, Head Trauma, HiM) :: Scott Macaulay (producer of Gumo, Raising Victor Vargas, editor of Filmmaker Magazine) :: Jon Reiss (Bomb it! and author of Thinking Outside the Box(office) ):: Jerry Paffendorf (artist, futurist, entrepreneur) :: Dan Mirvish (Omha the movie, Open House, The Eisenstadt Experience) ***CHECK BACK we’ll be adding more speakers in the coming weeks.

ADDITIONAL SPECIAL GUESTS TO BE ANNOUNCED

FIRESIDE: THE EVOLUTION OF STORYTELLING :: JESSE ALEXANDER and ELAN LEE
As we continue our series of discussions around the evolution of storytelling we’re joined by two pioneers in the space who are extending the experiences that surrounds the stories they tell. From massive global gaming experiences to hit TV shows Jesse Alexander (Heroes, Lost, Day One) and Elan Lee (Co-Founder and Chief Designer at Fourth Wall Studios) share the art and craft of how they design and develop transmedia experiences that create rich media franchises and engage audiences in new and interesting ways.

PRACTICAL: SOCIAL MEDIA FOR STORYTELLERS :: LANCE WEILER
With the advent of new technologies, devices and the emerging real-time aspects of the web, stories can travel and build audiences in new and exciting ways. The confines of a single format are replaced with the ability to move audiences from one experience to another — from one screen or device to another. There has been a lot of hype around the concept of social media but what does it really mean for storytellers? How can you use free tools and services to tell stories, engage an audience and most importantly, extend the life of your project? Lance Weiler (The Last Broadcast, Head Trauma, HiM) walks you through the process of getting up and running, understanding how to staff, how to budget, how to engage an audience and how to set realistic goals whilst determining measurements of success.

CASE STUDY: THE EISENSTADT EXPERIENCE :: DAN MIRVISH
Dan Mirvish (Omaha the movie, Open House) charts his course from short film to web series to political scandals to an eventual book deal that is now leading to the whole story being optioned and turned into a film. “I Am Martin Eisenstadt: One Man’s (wildly inappropriate) Adventures with the Last Republicans,” is a mix of political intrigue, campaign-trail escapades, and cyberspace detective work. Desperate to rise through the ranks of Washington’s media punditocracy, Eisenstadt insinuates himself into the last 30 years of American politics – from losing his virginity to Fawn Hall, to interning on the Willie Horton ad campaign, to buying Sarah Palin’s wardrobe. Mirvish shares how his work has evolved beyond a single medium and the liberation that working within one’s limitations can bring.

ROUNDTABLE: ALL ABOUT ME ::
As content creators of all kinds strive to build fan bases and cultivate audiences for their work, many are finding that their best promotional vehicle is themselves. Panelists will discuss the benefits and pitfalls of creating an online cult of personality. How to develop an online persona, issues of privacy, and extending your own persona to work by others will all be discussed by a diverse group from different content industries.

PRACTICAL: THINKING OUTSIDE THE BOX(OFFICE) :: JON REISS
The world of discovery and distribution is changing by the moment. DIY and hybrid distribution is becoming the A option for many filmmakers. But how do you find the strategy that’s going to work best for you? How do you reach and engage audiences while achieving a degree of sustainability? Join Jon Reiss, award winning filmmaker and DIY distribution expert as he shares stories from the frontlines, much of which can be applied to those wishing to connect their creative efforts with an audience in meaningfully ways.

CASE STUDY: LOVELAND :: JERRY PAFFENDORF
Loveland is a collaborative art meets urban revitalization meets social ownership experiment that is attempting to sell off a million square inches of Detroit off at a $1 each. Jerry Paffendorf (artist, futurist, and entrepreneur) shares his vision for the project and how he is crowdsourcing the funding of his start-up while taking a creative approach to the design of not only the concept behind the project but also the way in which it is funded. Rooted within a hook that some might consider a novelty (million dollar homepage pops to mind), Paffendorf is embracing the playfulness of LOVELAND’s actual and virtual inches by documenting the process as if it was a natural history / storytelling project. The approach appears to be paying off as inchvestors are preparing all kinds of creative things around their plots. In the process LOVELAND could prove to be an interesting revitalization project that turns areas of Detroit and other cities into collaborative social art that is self-sustaining.

To listen NOW click the play button below.

In addition to the theatrical run the winning filmmaker will receive a special P&A package consisting of PR, street team and social media support (provided by Culture Shock Marketing and WBP Labs) to help drive an audience to the venue. The filmmaker will receive 100% of the box office receipts. But there is more – 20 other filmmakers will receive a special digital distribution access package from WBP Award partner IndieFlix that will place them on Hulu, iTunes, Netfilx and variety of other outlets.

For more details visit www.workbookproject.com/award

by Zak Forsman – As the team here at Sabi Pictures develops our evolving strategy for distributing Heart of Now and White Knuckles in 2010, VOD and DVD have been strongly recommended by consultants like Stacey Parks of Film Specific as having the best potential for direct revenue. So I have been following VOD in particular, hoping it might fulfill its promise to supplant a deflating DVD market but also to give filmmakers an opportunity to share in its rewards.

This article was written in response to “Why VOD is Turning into a Profitable Avenue for Indie Filmmakers” published at Filmmaker Magazine. If you haven’t yet, please read it to put the following in context.

In a case study, Alex Holdridge (In Search of a Midnight Kiss) said he gets about 45¢ of each $6 sale. In his deal, Comcast keeps 60%, Rainbow Media (IFC’s parent company) splits the remaining 40% in half with IFC who charges a 25% distribution fee before splitting their cut 50/50 with the filmmakers. That leaves 7.5% of the original $6 for the filmmakers. However, IFC charges a $15,000 “digitization fee” that must be paid back out of the filmmakers’ cut before they start earning revenue.

BREAKDOWN

Comcast – $3.60
Rainbow Media – $1.20
IFC – $0.75
Filmmakers – $0.45 (after digitization fees are covered)

So as a filmmaker looking to cut down on unnecessary expenses and maximizing the money going into my own pocket, my questions are:

I own a post-production company. What are the digitization specs for VOD, so that I can do it myself? We deliver studio-level broadcast-quality masters for DVD and Blu-ray all year long so I’m certain I’m qualified to produce the required deliverables for a seemingly overblown $15,000 charge. But can anyone tell me what those delivery specs are? What codec or format we’re talking about for picture and audio?

Next question is, Alex Holdridge insisted he didn’t need a distributer to take his future films to VOD, so he could keep a substantial portion of the revenue – 40-50%. $2.40 to $3 is much better than 45¢. But has anyone actually done this? Is there precedent for bypassing the “gatekeepers”?

I think Josh Braun, with all due respect, IS being overly optimistic. A friend of mine told me he is in the same boat as Jason Weiss (Humboldt County), meaning the film has done good to great numbers in VOD but he hasn’t seen a penny of it.

How in the hell are filmmakers not making money here? It makes me mad.

Visit the New Breed for more from the front lines of taking a project from script to the screen. ]]> by Zak Forsman – As the team here at Sabi Pictures develops our evolving strategy for distributing Heart of Now and White Knuckles in 2010, VOD and DVD have been strongly recommended by consultants like Stacey Parks of Film Specific as having the best potential for direct revenue. So I have been following VOD in particular, hoping it might fulfill its promise to supplant a deflating DVD market but also ...3http://workbookproject.com/2009/09/filmmakerconference/eventnewsbizifpnycpanelstalkswork@workbookproject.com (workbook project)Fri, 18 Sep 2009 19:54:54 PDThttp://workbookproject.com/?p=1000Tomorrow IFP’s annual Independent Film Week and Filmmaker Conference kicks off with 5 days of keynotes, panels, meetings and screenings. The following are a few highlights from the upcoming program. To see the full program visit www.independentfilmweek.com Ana Domb will be on hand to cover the activities for WBP so check back for updates.

Paying the Bills – Sustaining Your Film Career
How do you make a living as an independent filmmaker? Hear talented filmmakers in different levels of their careers discuss their day jobs, and how they carve out time and money to make their personal work.

Moderator:
Esther Robinson, Filmmaker/Journalist – Filmmaker Magazine, Thatgrl Media – A Walk Into the Sea: Danny Williams and The Warhol Factory

Panelists:
Tze Chun, Writer/Director – The Complications – Children of Invention
Jesse Epstein, Filmmaker – New Day Films – Wet Dreams and False Images
Reva Goldberg, Communications and Fellowships Manager – Cinereach
Rose Troche, Writer/Director – Go Fish, The Safety of Objects

The Times, They Are A-Changin
Join respected independent film pioneers along with a new guard of thinkers who are diversifying the industry through their approach to both the art and business of independent cinema.

Panelists:
Ted Hope, Partner/Founder/Producer – This is That – 21 Grams, Adventureland
Christine Vachon, Principal – Killer Films – One Hour Photo Boys Don’t Cry, I’m Not There
Lance Weiler, Writer/Director – The Workbook Project
Kenneth Woo, Co-Founder – Massify

The Good Pitch is a pitching forum with a difference borne out of the conviction that documentary is a powerful tool for creating social change.

The Good Pitch is a unique opportunity for a selected group of filmmakers to pitch both their film and its associated outreach campaign to an invited audience of participants, comprising foundations, NGOs,
campaigners, advertising agencies, brands and media in order to maximize its impact.

The Channel 4 BRITDOC Foundation is delighted to announce that it is partnering with the Sundance Institute Documentary Film Program in 2009 to take the Good Pitch on its first North American tour.  After editions at Hot Docs in April and Silverdocs in June, The Good Pitch will be making its final stop at IFP’s Independent Film Week, in New York City, September 24, 2009.

After an open submission process, eight projects will be selected to pitch in New York. Please note: Application
to and consideration for The Good Pitch at Independent Film Week is a completely separate process from IFP’s Project Forum selection process.

The State of Distribution – The Current & Future Indie Model
The paradigm for independent filmmaking and distribution is at an important crossroads as industry leaders look to new digital and financial models. Learn how filmmakers can use this changing landscape to their advantage and how new opportunities in distribution are changing the ways films are bought, sold and produced.

Moderator:
Scott Macaulay, Editor-in-Chief – Filmmaker Magazine

Panelists:
Paola Freccero, President of Distribution – B Side Entertainment
Jon Reiss, Director – Bomb It
Jonathan Sehring, President – IFC Entertainment
Mark Urman, President/Owner – Paladin

Special Book signing after the panel
Think Outside the Box Office: The Ultimate Guide to Film Distribution and Marketing for the Digital Era
Written by Jon Reiss, October 2009
No longer can filmmakers expect someone to come and take their film off their hands and guarantee them a release. In Think Outside the Box Office, pioneering filmmaker and author Jon Reiss introduces a new hybrid distribution model utilizing the best of the old world and new world distribution and marketing techniques providing a systematic, step by step approach to monetizing your film.

The Next Wave of Distribution
Join a panel of filmmakers, distributors and film exhibitionist who are thinking outside the box about new ways of getting films out to audiences. Find out how this “next wave” is effectively implementing their cutting edge ideas from new models in exhibition to varied forms of DIY and digital distribution.

Moderator:
Eugene Hernandez, Editor – IndieWire

Panelists:
Jake Abraham, Executive Producer – Dandelion – Lovely By Surprise
Orly Ravid, Co-President – New American Vision
Todd Sklar, President – Range Life Entertainment
Mark Lipsky, President – Gigantic Digital Cinema

Crowdsourcing: Building Fans, Bloggers, & Press Allies
From the start of a new project, filmmakers are bringing in audiences, press, fans, and friends to help shape their content and build word-of-mouth. Find out how to increase and retain viewers using new technology and strategic web building – and why doing so sooner rather than later is critical to getting your latest project noticed.

Moderator:
Ingrid Kopp, Director – U.S. Shooting People

Panelists:
Slava Rubin, Co-Founder – IndieGoGo.com
Bladimiar Norman, Head of Digital Marketing & Communications – 42West
Asiel Norton, Writer/Director – Redland
Alex Johnson, Co-Founder WBP Labs and Co-Creator of RADAR

IFP Independent Filmmaker Lab Showcase
Free outdoor public screening of excerpts from the 20 projects from IFP’s 2009 documentary and narrative labs.

Location: Empire-Fulton Ferry State Park, near the East River and Main Street, DUMBO, Brooklyn

Documentary
Beijing Taxi Directed by Miao Wang
Casino Nation Directed by Laure Sullivan, Paul Wilson, and Terry Jones
An Interview with Simone Weil Directed by Julia Haslett
Land of Opportunity Directed by Luisa Dantas
Our House Directed by Greg King and David Teague
Paul Goodman Changed My Life Directed by Jonathan Lee
The Road to Nasiriyah Directed by Micah Garen and Marie-Hélène Carleton
Texas Heart Directed by Treva Wurmfeld
Twelve Ways to Sunday Directed by Anna Farrell
War Don Don Directed by Rebecca Richman Cohen

Narrative
Au Pair, Kansas Directed by JT O’Neal
City on a Hill Directed by Amy Seimetz
The Imperialists Are Still Alive! Directed by Zeina Durra
The Myth of Time Directed by Miller “Jaguar X.” Koepenick
Perfection Directed by Christina Beck
Phasma Ex Machina Directed by Matt Osterman
Postales Directed by Josh Hyde
Stranger Things Directed by Eleanor Burke and Ron Eyal
The Tested Directed by Russell Costanzo
Wanderlost Directed by David Kabler

Cory Macbee’s feature The American Astronaut is considered a cult classic. Thanks to an effective DIY release strategy and strong word of mouth the film has enjoyed a long life since its release in 2001. When it came time to craft his newest film Stingray Sam, Cory took a different approach. Stingray Sam launches today coming to “many screens near you.” There’s a theatrical premiere, a live streaming event (Cory call’s it a bootleg), pay downloads and a special DVD which can be ordered online. Much of the activity can be found on Stingraysam.com Later tonight audiences can enjoy the festivities in LA from the comfort of their own home as the film makes its theatrical premiere.

For more info on Corey and Stingray Sam visit www.stingraysam.com

To listen NOW click the play button below.