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MoPix Featured in Hand Held Hollywood’s Filmmaking with the iPad & iPhone


MoPix was recently featured in the new book by Taz Goldstein: Hand Held Hollywood’s Filmmaking with the iPad and IPhone. This unique and entertaining book helps aspiring filmmakers and working professionals to transform their iOS devices into revolutionary filmmaking tools.

MoPix is featured in the book as an example of one of the coolest and most essential resources for mobile filmmaking and distribution! 

Anyone that would like to order a copy of the book can do so at a 35% discount on the book with the here is the coupon code: HHH. 

Here’s the 

Untangling film distribution

Digital distribution is messy.  Digital distribution is a full-time job.  Online film distribution requires a combination of software, digital expertise and elbow grease. But it shouldn’t and it doesn’t have to be. It is time to automate the digital distribution process to create a set of norms. We are devoted to furthering the distribution of independent film and seeking additional opportunities for filmmakers whereby they can one day:  

  • Spend less time negotiating deals with each end-user marketplace.
  • Consolidate film rights across all territories. Allowing content creators to get their film into as many hands as possible and generate untapped revenue. 
  • Have a single location to manage all videos and film assets. 
  • Experience transparency of revenue flow. Every time you sell a copy, it should appear in your sales report along with the name and email address of the customer who purchased it.  
  • Have a centralized hub that can maintain secure accounting, encoding, delivery systems, storage, and metadata. Allow someone else to take care of the dirty work - handling all ordering, fulfillment, payment processing, shipping, customer service and payments. 
  • A way to easily find your audience for your film titles. Getting your movie out there is hard enough, but then you need promotional opportunities to drive sales.  
  • Be supported by distributors and exhibitors who want non-exclusive rights and believe in furthering your art, not restricting it in any way. 

The future business models for monetizing digital content

Today the dominant model for monetizing digital content might be advertiser supported; examples would include Hulu or YouTube. But this model would prove disastrous for most independent films. While ad rates are set at mass-market rates. Google doesn’t release how much of its YouTube ad revenues end up in the hands of rightsholders but industry evidence suggests it is under $.01 per unique viewer. Ad rates will probably improve as viewer-profiling allows more targeted advertising but not by a comparable factor.

Netflix is the other mass distribution option. Netflix is a great way to get the most people to see your movie, but because they pay a flat fee instead of a per-view percentage, and because once it’s on Netflix, any of the 20 million subscribers won’t have a reason to get it anywhere else, so you pretty much stop making money from the distribution at that point.

It’s true that the major studios and content producers want to see more Netflix like options enter the subscription streaming sector. What they don’t want is for these solutions to offer popular shows and films for what Netflix charges. They want to services that charge for rentals or sales at $4+ a pop. To put this in perspective: Approximately 9 Netflix streams return the same revenue as a DVD sale or approximately 20,000 You Tube views would return the same revenue as just one DVD sale. Ad rates will probably improve as viewer-profiling allows more targeted advertising but not by a comparable factor. 

With MoPix we are building a platform that will default to streaming but giving you the option to download to device, on any device. The user can stream by default, or opt to download for offline viewing. Best of both worlds. Each has its use case and its value, and instead of saying any one approach is better, we say both are great. 

We are giving content creators the outlet to sell movies for less than the cost of a DVD, but earn higher margins and users the opportunity to download to any device, own all the special features they would on a Blu-ray and in general just making the experience of building a digital library a very satisfying experience.

We also strongly believe that paid content is also increasingly the norm for anything more substantial than old Hollywood films and sit-com re-runs. 

SKOGG System Kettlebell Fitness Series

We are excited share the release of our first self distributed fitness content, SKOGG System Kettlebell Workouts.  16 total workouts: 4 unique workouts with 4 fitness levels.

The MoPix team has had the opportunity to take Michael Skogg’s class in Portland, Oregon and continues to be regular users of the workouts through the app.  Once you have conquered the basics it makes for a super flexible and quick workout.  For example you can combine the level two workouts with a 30 minute run or heavier weights. 

Michael Skogg has built this system so that it is adaptable to your needs and fitness level. To personalize your workout, adjust your kettlebell size, your workout length, and your tempo (the pace at which you move). Use a lighter bell and a quicker consistent tempo to emphasize cardio. Use a heavier bell and a slower tempo to focus on form and recovery to develop power, strength and size. 

Most digital content still stuffers from the problems of the legacy technologies

Any idiot knows that within five years DVD and broadcast television will go the way of the dinosaur and that most content will be delivered digitally. The pertinent question is how to “monetize” that content to support the same quantity and quality of production presently supported by legacy technologies - film, television, cable and DVD.

MoPix is about letting the people who made the film control the outreach to their audience because we believe they are best equipped to do it.

MoPix will help put more money directly into the pockets of the filmmakers and independent creators.

The filmmaker can decide what to sell and when to sell it.

The filmmaker can set the sales price.

The filmmaker can have direct access to fans (and use them to promote the film).

And the filmmaker can control the timing of the release.

If you are tired of the status quo, you should get in touch.

If you are deeply passionate about movies, you should get to know us.

We are building an incredible platform to help filmmakers quickly and inexpensively distribute, monetize and promote their films to mass audiences, while giving them control of how they do it.

MoPix lets the filmmaker decide. It’s time for the creators to control distribution.

MoPix acquires the Fling Soft team

I’m excited to share MoPix exclusive with you right before it hits the press! Today we added the Fling Soft team, a boutique development shop focused on mobile steaming video solutions, to the MoPix squad.

Fling Soft and MoPix share the same vision- to empower self-service distribution for independent filmmakers and alternative content creators. We wanted to join forces to ramp up development and form a stronger team to tackle the multi-platform distribution and development challenges. We’ll thus be integrating what’s best about their service and using their skills to build upon the current MoPix framework. 

The Fling Soft team brings with them their strength in developing streaming video solutions for mobile and set-top devices on a wide variety of platforms, including, Windows Phone, Blackberry, Android, Roku, Boxee, Samsung Apps, and Yahoo Connected TVs.

Jeremy Krall, founder of Fling Soft is joining MoPix’s executive team and will assist the MoPix team in extending the self-service distribution platform beyond iOS. 

I’m happy to answer any questions you might have. I look forward to giving you an update in September as we begin to integrate our larger vision.

-Ryan, CEO

CTO Guest Post: MoPix’s architectural philosophy to conquer the world of digital video distribution

Hi, Drew the CTO here. So, our CEO asked me to do a guest blog talking about our technology stack. I had some initial ideas about explaining all of the cool toys we get to use. Unfortunately, I could see where that would go, and after realizing how many of our readers would fall asleep at their computers, I realized I couldn’t be too technical. Instead, I decided to try to give a broad overview of the philosophy behind our architecture. After all, philosophy is more exciting than technology, right?

A lot of people, after looking at our product, say, “OK, you guys do apps for video. That’s cool.” Well, yes, it is cool, but it’s also a very limited view of what we’re trying to do with MoPix. At the highest level, we’re trying to solve the problem of digital distribution for content creators; we want self publishing at all levels to become a reality. For us, apps are just one part of that vision. Apps just happen to be near and dear to us, and where a lot of our expertise is, so they were a natural first part of our distribution strategy. But they’re really only the beginning.

In the enterprise world, there are a number of architectural patterns used to deal with the fact that data may be coming from many disparate sources, information probably needs to be consolidated somehow at some point, and data needs to come out again in many different ways. For example, you may have a large enterprise that needs to consolidate orders placed through legacy systems, online stores, emails, etc. Then action needs to be taken, and the resultant outputs could be more emails, links to distribution systems for things like shipping, etc. The point is, you need to deal with many different kinds of inputs and you need to also enable many kinds of outputs. The inputs and outputs in a well designed system shouldn’t know much about each other because if they don’t (if they aren’t “coupled”), you can add whatever inputs or outputs you want. 

Imagine one of your inputs is email, as in, a customer emails you an order. One of your outputs is another email confirming the order. If your whole concept of an order is too closely tied to email concepts (“from” is always and only an email address, there’s always a subject, and there’s always a free-form message body), then it’s really hard to, for example, let orders come in by SMS or the web (where’s your “from” address, subject, and body?). If instead, you think of the emails on either side as just inputs and outputs, you can transform the inputs into a normalized representation of an “order”, sort of the Platonic idea of what an order is. You’ve isolated an “order” from the way in which you got it. So now you can accept orders from anything, as long as you have a way of translating that input into your Platonic ideal. And then that Platonic ideal can have anything happen to it you that want. You can send out email confirmations, you can export directly to external purchasing systems, you can pipe it to accounting or data warehousing systems, etc.. The key is, you’ve decoupled inputs and outputs from what it is that you’re actually doing. And once those inputs and outputs are separated from each other like that, you can add or remove them whenever you want.

In many ways, our goals with MoPix are similar. We’ve got a centralized (Platonic ideal) of what “content” is. And we want you to give us that content in whatever way you want, and we want to let you distribute it in whatever way you want. Right now, we’re integrating with things like Dropbox, FTP, and HTTP download to get your video. And getting video is itself a tricky proposition, mainly because the files are so damn big. But at the end of the day, we really don’t care how we got it. We’re not tied to Dropbox, we’re not tied to FTP. We can (and plan to) build additional imports to get video from things like a Vimeo account, Google Drive, direct upload, or whatever else makes it easy to work with large files. Whenever we import your content, we’re alredy translating it into our system’s “ideal” representation.

That allows us to do whatever we want with the outputs. Right now, yes, we’re mainly in the business of distributing your content via iOS apps. As I said earlier, we’re good at apps. It’s a growing market. People understand what they are. But they’re not the only output possible. We’re currently working on our web-based solution, enabling your content to be distributed directly via the web as a digital download. We’ve got plans for other platforms, like Android and Windows Mobile. But that’s really the beginning. One of the hardest things for video content creators to get a handle on is the wide array of distribution options. With the right outputs, we can make that easier. At the end of the day, we don’t care if we’re helping you sell your content as an app, or helping you get it into the iTunes Video Store with iTunes Extras support, or helping you get it onto Netflix. Those are all outputs to us, and we’re specifically designing our system to make those outputs possible from a single source of your content.

Years ago when I was looking into studying Aikido, I stumbled across an explanation of what Aikido was. The author of this website was writing about what kinds of situations Aikido would specifically prepare you for. He said that it wouldn’t necessarily prepare you for any one specific situation, as in a lot of martial arts. So much of Aikido is about awareness of the situation and adaptivity. Yes, it can train you to deal with a guy with a knife. Yes, it can train you to deal with multiple attackers. When its lessons were truly learned well, he wrote, you could also deal with a hypothetical 8-legged space octopus creature and still account well for yourself. 

So now that you understand our architectural philosophy, think of MoPix as something that can help you conquer the 8-legged space octopus creature that is the world of digital video distribution.

The Silver Goat movie is now available for download through the Apple app store.  It is the first film ever created exclusively for the iPad and available for the discounted price of $3.99 through the 14th. 

The red carpet premiere of the film took place today in London on board a London Routemaster bus. The bus drove around the locations in which the film was set. These included Chelsea, Notting Hill, King’s Cross and Islington. The cast and crew each had an iPad to watch the mopix film app. 

Find out more about it here: London Evening Standard

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