NESTA Connect

Collaborative Models in the Film Industry

I love film festivals, and the London Film Festival is one of my favourites.

This year, NESTA is sponsoring a London Film Festival Fringe event, called Power to the Pixel. Director Liz Rosenthal describes the event as looking “ahead to where the power of the internet and digital platforms can offer new opportunities for those creators and companies that can no longer effectively function within the old film business model”.

Of course, there are plenty of traditional film businesses trying to understand these opportunities also.

Showcased at Power to the Pixel were some of the most innovative creative and business tools from around the world. Here are some of them:

PlaceVine – brings content creators and brand owners together to create sponsored content. Check out Shane Meadows Somers Town for an example. Would you guess that his short film was fully funded by Eurostar?

M dot Strange – talked about how to make a $70 million (style) feature film in your bedroom, and then show the world how to do it for yourself via YouTube. He uses his social network of admirers as zombie extras who then virally market the movie. And then they subtitled it into 17 languages. For free.

Wreck a Movie – gives film-makers a platform to crowd-source their own production using social networks. Timo Vuorensola explained how he and some friends went from space cadets in Star Wreck: In the Pirkinning to selling war bonds to fund animated feature that satirises Moon-based Nazis in Iron Sky.

All of the talks will be up on the Power to the Pixel website soon.

The talkoot of the town (& bothy)

I’ve recently learned of the Finnish word ‘talkoot’ (from these guys) which is described as follows:

Talkoot is the cultural equivalent of common work in a village community, although adopted to the conditions of Finland, where traditionally many families lived in isolated farms, often miles away from the nearest village.

A talkoot is per definition voluntary, and the work is unpaid. The voluntary nature might be imaginary, due to social pressure, especially in small communities; and one's honor and reputation may be severely damaged if one doesn't show up — or proves to be a poor worker.

Learning this new word immediately reminded me of when I used to live in Edinburgh, and when we had many a great trip to bothies (such as the one in the above below). Bothies are described as simple shelters in remote country (usually means at least 2 hours walk from the nearest road and certainly no electricity or plumbing) for the use and benefit of all who love wild and lonely places.

Bothies appear to me to have a lot in common with the isolated Finnish farms where the idea of Talkoot arose. There is an implicit understanding in bothies that you temporarily share the space with anybody else who may be there, and collectively work together to gather firewood, make food, clean up etc. (As an interesting aside, Euan McIntosh also used bothies as a powerful analogy of social networks back in May at Nesta’s innovation edge conference, but I won’t go into that again here.)

But why, you might well ask, am I talking about talkoot and bothies on a blog about collaborative innovation? Well as Peter Drucker says (via Euan Semple):

In a knowledge economy there are no such things as conscripts - there are only volunteers. The trouble is we have trained our managers to manage conscripts.

Organisations based on hierarchical command and control structures have proven to be very efficient for mechanistic or specific tasks but generally terrible at stimulating innovation and creativity. So in seeking to create these new organisations in a world increasingly based on ideas and relationships, which required an environment that encourages voluntary and spontaneous contributions, perhaps we have something to learn from the spontaneous and voluntary nature of both bothies and talkoot.

Convergence of Media Production

Broadcasters have for years now been talking about developing content across different platforms.

When it works well - BBC's coverage of the Olympics, Channel 4's Big Art Project - it is wonderful.

But TV producers and digital production companies have traditionally faced a key barrier to innovation. Their differing business models, ways or working and the issue of intellectual property ownership have meant that collaboration to produce convergent content is more difficult than it ought to be.

NESTA teamed up with PACT to sort it out, and they have produced some useful legal templates and a guide to allow firms to contract more easily to work together.

What we'd like to know is whether they can be used outside of these media sectors. If relevant to your business, please feel free to try them and let us know?

Guide to collobaorating

Jon

Hyper Island and Dare

A surprisingly recurrent question that I find myself asking about creative innovation at NESTA is "How do they do it in Sweden?". The Swedes seem to have a track record in good innovation practice.

So when Skillset launched their excellent Media Academy programme, which aims to nurture creative people for the new media sector, they drafted in Mattius Hanson from the wonderful Hyper Island.

I'm glad to say that the UK (notably Scotland) can hold its own too with Dare to be Digital having an equally successful record of getting talented people into industry - this time in games.