纪录片自媒体解说素材-新闻动态参考-对纪录片功能的受众需求跨平台增长/Audience Demand for Documentary Features Grows Across Platforms
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0509/0444qkfhpavocsr.jpg对纪录片功能的受众需求跨平台增长
Audience Demand for Documentary Features Grows Across Platforms
一旦被视为精英和利基市场，随着观众对现实生活故事的需求的不断增长，纪录片的特色市场正在不断扩大。文献已经成为一种巨大的流派。 “蒂娜，扎帕”，“戴维·阿滕伯勒：我们星球上的生活”和节日命中“甘达”，今年6月发布了。“观众重新编写了纪录片类型。流媒体在帮助扩大功能文档的吸引力方面发挥了关键作用，提供了令人兴奋和激动的现实生活故事，这些故事常常像虚构梦想梦想一样戏剧性，从而使他们成为故事片和坚实的娱乐形式。”向上。尤其是Netflix有助于提高认识。例如，彩带今年有两名热门的奥斯卡纪录片竞争者：“我的章鱼老师”和“ Crip Camp”，此前曾在2018年以“ icarus”和“美国事实”（American Fact）赢得了该类别Ory。” Apple TV Plus与此同时，通过为“ Billie Eilish-Billie Eilish- 有点模糊”支付了2500万美元，这使该行业在2019年下跌，这强调了该类型中有钱可以赚钱。DiscoveryPlus和Nat Geo还努力进入高级DOC空间，后者最近获得了圣丹斯文档“与鲨鱼一起玩”的全球权利。不过，这不仅仅是彩带。去年，Pay-TV公司Sky推出了自己的纪录片《天空纪录片》。欧洲公共服务广播公司也在专题文档市场上。例如就像在线性电视上一样，Piplayer正在证明功能文档的肥沃之家，认为BBC Storyville的委托编辑Mandy Chang估计。 “故事维尔的数字线开始将电视上的数字黯然失色。他们坐在iPlayer上更长的时间，并通过口口相传，在Twitter和其他形式的社交媒体上吸引听众。她说：“这是一种以报纸文章无法做到的方式深入故事的方式。”举例来说，她引用了“集体”的长时间，并在罗马尼亚卫生服务部门对腐败的调查进行了令人jaw目结舌的调查。对于纪录片制造商，人们意识到有可能从功能文档中赚钱，部分原因是由于日益增长平台数。 Chang说：“人们之所以进入市场，是因为资金的来源更多。”奥利·哈布（Oli Harb）说：“这是关于如何利用它的方法。奥特尔（Ottle），分销和获取负责人。尽管由于大流行而导致电影院关闭。随着观众陷入困境，Dogwoof（Dogwoof）的英国发行板包括“ I Am Greta”，“ Stray”，“ Mole Agent”和“ Collective”- 受到了50％的需求增长（TVOD）收入的增长50％。在过去的一年中，这些收入中有些是通过其最近推出的Dogwoof On Deman Platform进行的，也是通过其他数字平台（例如Amazon Prime Video和Itunes）进行的。 Dogwoof还启动了五个功能文档作为“虚拟电影”发行。为了在3月26日推出“ Stray”，参加了40多个电影院。 Harbottle说虚拟电影数量仍然很小，但增长。 Harbottle说：“我认为这可能在未来的分销环境中发挥作用。”年。”在接收中NT交易，Dogwoof将“与鲨鱼一起玩”向Nat Geo出售给Nat Geo，几年前登上了该项目，担任金融家，高管制片人和销售代理商。功能文档市场的竞争性质越来越多，这意味着Dogwoof等公司越来越多地开始在较早的阶段，作为销售代理商或金融家。例如，Dogwoof几年前推出了其生产部门，就像流媒体对功能文档的需求正在建立一样。Harbottle说：“我们意识到我们必须处于IP起源的来源。”“在这个领域中，还有许多其他公司，也许不是四到五年前，因为他们已经看到了纪录片流派。”这是Lia Devlin在Altitude上回应的，这也发展了自己的板岩纪录片。“如今，每家销售公司都有纪录片作为其产品的一部分 - 几年前事实并非如此。”
Once seen as rather elitist and niche, the documentary feature market is expanding as audience demand for real life stories continues to grow.
Documentaries have become a huge genre in their own right, says Lia Devlin, head of distribution at Altitude Films, whose slate includes “Tina,” “Zappa,” “David Attenborough: A Life on Our Planet,” and festival hit “Gunda,” which it releases this June.
“Audiences have reappraised the documentary genre. They are treated very much now as feature films and a solid entertainment format.”
Streamers have played a key part in helping broaden the appeal of feature docs, offering thrilling and emotional real-life stories that are often as dramatic as anything that fiction could dream up. Netflix, in particular, has helped to raise awareness. The streamer, for example, has two hotly tipped Oscar documentary contenders this year, “My Octopus Teacher” and “Crip Camp,” having previously won the category in 2018 with “Icarus” and in 2020 with “American Factory.”
Apple TV Plus, meanwhile, set the industry alight in 2019 by paying a reported $25 million for “Billie Eilish – The World’s a Little Blurry,” highlighting that there is money to be made in the genre.
Discovery Plus and Nat Geo have also pushed hard into the premium doc space, with the latter recently acquiring worldwide rights to Sundance doc “Playing With Sharks.”
It’s not just the streamers though. Last year, pay-TV firm Sky launched its own documentary service, Sky Documentaries. European public service broadcasters are also in the market for feature docs. The BBC’s long-running feature doc strand, Storyville, for example, is offering Oscar nominees “The Mole Agent” and “Collective” through to the uplifting “Into the Storm: Surfing to Survive” to viewers via the BBC iPlayer digital platform as well as on linear TV.
iPlayer is proving a fertile home for feature docs, reckons Mandy Chang, commissioning editor for BBC Storyville. “The numbers for Storyville online are starting to eclipse the numbers on TV. They sit on iPlayer for longer, and gather an audience by word of mouth, as well as on Twitter and other forms of social media.”
Chang also links the growth of feature docs to the demise of long-form, investigative newspaper journalism. “It’s a way of going deeply into the story in a way that a newspaper article may not be able to,” she says. By way of example, she cites “Collective’s” years long and jaw-dropping investigation into corruption into the Romanian health service.
For documentary makers, there is a realization that it is possible to make money out of feature docs, partly because of the growing number of platforms. “People are coming into the market because there are more sources of funding,” says Chang. “It is just about understanding how to tap into it.”
As an indication of the state of the feature doc market, specialist documentary distributor, sales agent and producer Dogwoof has just closed its best year yet, says Oli Harbottle, head of distribution and acquisitions.
This is despite the closure of cinemas due to the pandemic. With audiences stuck at home, Dogwoof – whose U.K. distribution slate includes “I Am Greta,” “Stray,” “The Mole Agent” and “Collective” – has been buoyed by a 50% increase in transactional video on demand (TVOD) revenues over the past year.
Some of these revenues have come via its recently launched Dogwoof On Demand platform, but also via other digital platforms such as Amazon Prime Video and iTunes. Dogwoof has also launched five feature docs as "virtual cinema" releases; for the launch of “Stray” on March 26, more than 40 cinemas participated. Harbottle says virtual cinema numbers are still small but growing. “I think it could play a role in the future distribution landscape,” he says.
As well as TVOD, broadcasters and streamers have also been buying over the past year, says Harbottle, who adds that Dogwoof’s sales arm has also had an “incredible year.” Among recent deals, Dogwoof sold “Playing With Sharks” to Nat Geo, having boarded the project a couple of years ago as a financier, exec producer and sales agent.
The increasingly competitive nature of the feature doc market means that companies like Dogwoof are increasingly getting involved at an earlier stage, as sales agents or financiers. Dogwoof, for example, launched its production arm a few years ago, just as streamer demand for feature docs was building. “We realized we had to be in at the source of the origination of the IP,” says Harbottle. “There are numerous other companies operating in this space, who perhaps weren’t four or five years ago, because they’ve seen the documentary genre blossoming.”
It’s a point echoed by Lia Devlin at Altitude, which also develops its own slate of documentaries. “Nowadays, every sales company has documentaries as part of their offering – and that wasn’t the case a few years ago.”
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感谢大佬分享。我又来学习了~ 感谢分享，下载收藏了。最喜欢高清纪录片了。 感谢分享，下载收藏了。最喜欢高清纪录片了。 谢谢楼主分享，发现宝藏了。 感谢分享啊。谢谢版主更新资源。 谢谢更新，天天学习，天天向上！
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