Giáo án Những kĩ thuật gia tăng giá trị thương hiệu Digital Platforms Focused on Audiovisual Audiovisual production involves a list of specific processes for its creation. These processes are tightly linked to literature, music, and other minor arts. They are also interrelated to technology. Examples of this are image capture devices, sound editing consoles, and special effects software. Consumption, distribution, and even the filmmaking process have been profoundly transformed by technology, but how work teams are formed has not.
262 Chapter 15 Digital Platforms Focused on Audiovisual Narce Dalia Ruiz https://orcid.org/0000-0003-3272-6773 Universidad Politécnica de Valencia, Spain ABSTRACT Audiovisual production involves a list of specific processes for its creation These processes are tightly linked to literature, music, and other minor arts They are also interrelated to technology Examples of this are image capture devices, sound editing consoles, and special effects software Consumption, distribution, and even the filmmaking process have been profoundly transformed by technology, but how work teams are formed has not This study is focused on finding out how in an interconnected society, the intelligence of the mass and the proposals of strangers, can find their way to a collaborative production with people interacting through the internet A first approach is to know which platforms proliferate on the Western hemisphere, spanning across Europe and America, through the participation in audiovisual production forums, interviews with industry professionals, visits to film festivals markets and performing an online census INTRODUCTION Core part of this study is digital platforms Many things can be understood by platforms, and the concept may even present confusion with others such as mobile application (APP) or static web pages As a digital platform, we will take the definition granted by Kenney and Zysman (2015) in their draft of the article Choosing a future in the platform economy: “Digital Platforms are computing frameworks upon which users can undertake a range of activities often forming entire ecosystems for value creation.” That is, an operator makes the digital platform available to third parties, is an intermediary and facilitator of the technological component so that other professionals can meet The line between suppliers and consumers is more diffuse, since, depending on the type of platform, they play a role or another DOI: 10.4018/978-1-7998-4930-8.ch015 Copyright © 2021, IGI Global Copying or distributing in print or electronic forms without written permission of IGI Global is prohibited Digital Platforms Focused on Audiovisual BACKGROUND In a text published in 2017 by Sharing Spain, a collective called Adigital made a distinction of five types of users: • • • • • User: It will be any natural or legal person, who registers on the platform and interacts with other registered people Consumer: It will be the type of user that relates to professionals on the platform The protection of the legal regime of consumers and users will apply Supplier: It will be the type of user that takes advantage of the platforms of the new models as an additional sales channel, in addition to the traditional ones Commercial regulations will apply and must comply with the legal regime of consumers and users Professional: It will be the type of user that carries out one or several activities or provides one or more services for profit and in a habitual way through one or several platforms The same user may be professional in one area and not professional in another Non-Professionals: It will be the type of user that carries out a non-profit activity or commercial intention, through one or several platforms and with the sole intention of sharing an underused asset, its knowledge or its time and the costs associated with the activity in question The same user may be non-professional in one area and professional in another Also, the text of Sharing Spain describes the type of relationships that exist between these users: • • • • P2P: Relationships that occur from private to private In this type of relationship, users of any side find the civil legal regime applicable and there is no obligation to comply with the regulations for the protection of consumers and users P2B: Relationships that occur from private to professional We understand that the professionalization of the provider should be excluded, but not its profit motive B2C: Relationships that occur from professional to consumer In this relationship, there is no longer a peer as there is a traditional asymmetric relationship between entrepreneur and consumer It does not imply that it is only for profit, since, for example, in a time bank a B2C relationship could be given with consideration in time B2B: Relationships that occur from professional to professional In this type of relationship, the non-profit B2B option must not be ruled out, and the commercial legal regime will be applicable Digital platforms cover a wide range of activities, including online markets, social media, and creative outlets, applications, distribution platforms, price comparison websites, platforms for the collaborative economy as well as general online search engines They share key features, including the use of information and communication technologies to facilitate interactions between users According to the portal of the European Commission of the European Union (EU), online platforms are strong engines of innovation and play an important role in society and the digital economy of Europe They increase consumer options, improve the efficiency and competitiveness of the industry and can improve citizen participation According to the same portal, nowadays one million EU companies are already selling goods and services through online platforms, and more than 50% of medium-sized companies that sell through online markets sell cross-border products 263 Digital Platforms Focused on Audiovisual To distinguish digital platforms from traditional web pages, it is enough to mention that the latter only provide information to the user, while the platforms allow interactivity between the user and the interface, various actions such as those mentioned above are performed Also, to differentiate a platform from an application, it must be taken into account that the platform is all hardware and / or software support used by applications in and for its execution, while an application is a type of computer program designed to facilitate a given type of work, which uses a platform in and for its execution The European Commission on Digital Platforms Through a survey on digital platforms conducted in 2015, the European Commission sought to better understand the social and economic role of platforms, market trends, the dynamics of platform development and the various business models that support the platforms, this «towards a modern and more European copyright framework » The vast majority of citizens and businesses recognized the benefits of online platforms, mainly because the platforms make information more accessible and communication easier, create new business opportunities and increase the selection of products and services Besides, citizens and businesses are aware The majority of respondents stated that platforms should be more transparent, especially with search results, and be clearer about the actual provider and review mechanisms It also considers that online platforms not provide sufficient information about personal and non-personal data collected and their terms and conditions Likewise, the majority considered that the problems perceived by the consumers or suppliers mentioned above could be better resolved through a combination of regulatory solutions, self-regulation, and market dynamics The guiding principles of the policy pursued by the European Commission are: A level playing field for comparable digital services; Ensure that online platforms behave responsibly to protect core values; Foster trust, transparency and guarantee equity; Maintain open and non-discriminatory markets to foster a data-driven economy With the proposals listed on its website, the European Commission, in terms of these types of platforms, intends to foster an environment in which digital platform ecosystems thrive This includes ensuring that platforms treat their users fairly and take measures to limit the dissemination of illegal content online Platform Classification By Code: One way to classify digital platforms is by their code: a Opensource is a development model based on open collaboration The Moodle.org educational platform, with more than 79 million users around the world, is developed under the collaborative principle of open source b Private code: are all those that are paid The online market platforms and the best known collaborative economy such as Uber and Airbnb are private code By Activity Sectors: In the report published by Sharing Spain on digital platforms in 2017, a first approximation is made by activity, listing certain sectors of activity that are most represented on 264 Digital Platforms Focused on Audiovisual Spanish platforms This report was made in conjunction with OuiShare, a community of connectors of the collaborative economy The activities represented in the report are: a Accommodation b Finance c Mobility and transport d Tasks and work e Consumption f Knowledge and education g Gastronomy By Activity Classes Between Users: Depending on the type of activities between users, described at the beginning of this chapter, a classification could be made These are: a Altruistic and donation activities: Individuals donate to the development of a product, an idea, or collections for humanitarian or social issues, without any remuneration b Non-profit activities: Individuals who carry out activities without the intention of receiving money for the activities carried out There may exchange goods or services; This type of platform works like a barter, you can exchange something that is no longer needed or that is no longer used There are several platforms, for example, for a home exchange Or, to give things away or donate them c For-profit activities: Individuals who carry out activities with the intention of a capital gain They can be individuals and also businesses/platforms that carry out activities generating a benefit for the user provider of the good or service Business Models The electronic business is any company that produces goods or services through the internet It is a global strategy to redefine old business models with the help of technology to maximize customer value and finances “ICT, with the development and rise of the Internet, make commercial activities viable anywhere in the world through this network, and originate electronic business.” (Navarrete Nossa, Montoya Restrepo, & Montoya Restrepo, 2009) The Spanish page dosdoce.com was born in 2004 to encourage cultural sector entities to use new social technologies Performs periodic reports related to digital technologies, such as the Digital Culture Yearbook, which is prepared jointly with Acción Cultural Espola, or reports such as Web 2.0 Trends in the publishing sector, among others In 2016, he published for CEDRO, the association that manages the intellectual property rights of authors and publishers, the third edition of a report called Consolidation of business models in the digital era According to Dosdoce’s report for CEDRO, and information contrasted with portals specialized in economics, as well as with Ruben Cadierno Ferro’s thesis on the main aspects of collaborative consumption in Spain, some business models that have digital platforms are: • Fragmented Content and Micropayments: This is when the fragmented purchase of a complete good is allowed, such as buying the song from a disc, or buying access to certain levels when playing a video game 265 Digital Platforms Focused on Audiovisual • • • • • • • • • • • Two or Several Sides: They are those in which, at least, there are two different user segments but they need to be related As in the video game industry, those who consume video games and those who develop them, and the intermediary are the consoles Freemium: It is a derivation of the previous one, where a huge user base on one side continuously receives a free product or service These are subsidized by a small database that is paying for additional service (Premium) In that sense, the need is to have a very large volume of users to attack safely In this type of business model, the entrepreneur’s obsession has to be to grow Long Tail: They are businesses, like freemiums, that require a lot of volume because the important part of sales is not generated with what everyone buys but with many things that are rarely sold That forces us to have a wide catalog Bait and Hook: The key is that the bait product is attractive and very cheap (even free), and the feeling of cost is deferred over time Cloud and Software-as-a-Service (SaaS): This model is purely online and offers a new approach to companies that develop applications It is a business model that is based on re-segmenting a niche Subscription: It is the one that markets access to a product or service with a periodicity (monthly, annual, personalized), instead of closing a sale each time to market the product or service Peer to Peer (P2P): Everything that has to with services that people offer to other people Reward: It is when a person donates money to some cause, idea, product development, etc., but in exchange for that they give a reward, monetary or not A non-monetary reward may be to appear in the credits of a movie Financial Return: This has a financial return model It has two aspects: ◦◦ Crowdlending: Investors receive a debit instrument that specifies the terms of the loan repayment, adding a return to the amount borrowed ◦◦ Equity Crowdfunding: Investors obtain shares or shares of a company and the return on investment linked to its future success Purchase and Sale of Products or Services: This type is the most common since a product or service is offered through a platform, the buying and selling process is carried out and a person pays for it Employment: This type of platform is where employees and employers are located There are more and more platforms that mediate the job search Platforms like Upwork or Freelancer.com offer the most varied number of jobs, all from their platform There are surely other types of business model classifications, but for the type of platforms that are part of this study, these models are the most relevant for the analysis PLATFORMS ORIENTED TO THE AUDIOVISUAL ECOSYSTEM The object of study of this research is the platforms oriented to the audiovisual ecosystem To arrive at a definition of this type of platforms, the idea was that all the platforms found had a collaborative aspect (constituted in the idea of collaborative economy and collaborative platforms), however, as it progressed, it was increasingly clear that Not all platforms that are part of this study are collaborative, some are closer to the concept of online market (Amazon) than collaborative platform (Wallapop) 266 Digital Platforms Focused on Audiovisual It is interesting to see that since this study began, to date, the platforms continue to appear, some have similar business models, others share the same type of service line, even the personal baggage of those who undertake these platforms is quite similar There are even platforms such as Clic & Mix, from France, or Media Konnect, from the Netherlands and India, which appeared a couple of years ago and have stopped working Towards a Definition of Audiovisual Collaborative Work Platforms According to Margaret Rouse (2017), in its text for Search Data Center, a collaboration platform is a category of business software that adds broad social networking capabilities to work processes: “The objective of a collaborative software application is to foster innovation by incorporating knowledge management in business processes so that employees can share information and solve business problems more efficiently.” According to the text of Sharing Spain, some platforms can be categorized as collaborative platforms, which connect providers with users and facilitate transactions between them According to Wikipedia (the best example of how an Open Source works), a collaborative work platform is a virtual workspace, that is, a computer tool, often a digital internet site, which centralizes all functions linked to the conduction of a project, to the management of knowledge and the operation of an organization, making them available to the different actors involved We can say then that a collaborative audiovisual work platform It is a virtual space that centralizes the functions linked to an audiovisual project, manages knowledge, time and operation for the realization of said project, connects those involved in a production with those interested in participating and facilitates communication between them This concept of collaborative audiovisual platform is different from digital platforms oriented to the audiovisual ecosystem First, it must be clarified that adding the ecosystem concept comes precisely from the definition of platforms offered by Kenney and Zysman (2015), which say that the platforms can allow collaborators, users, peers and suppliers to form an ecosystem for creation That is why digital platforms oriented to the audiovisual ecosystem are those that operate in a virtual space of the internet and manage the knowledge related to audiovisual production, offering such knowledge to users who access the platform, with or without cost The audiovisual productions, of origin, are collaborative, the result of the meeting of various participants such as scriptwriters, musicians, cinematographers, sound design engineers, among many others The internet, the increasingly immediate access to broadband networks and the democratization of creative tools such as cameras and microphones, have opened the door to online collaboration between professionals As Vicente Carrasco and David García mention in their article on online collaborative audiovisual creation: “The seed of the spirit of online cooperation has germinated and grows at the pace marked by technological innovations” Since 2013 that article was written, to date, more than a dozen new platforms have appeared intending to support audiovisual creation, some with a more collaborative vocation and others with the idea of exchanging knowledge and facilitating processes such as Business models Some digital platforms oriented to the audiovisual ecosystem that have begun to proliferate on the Internet facilitate the search for financing, offer the possibility of working virtually with the best professionals in the sector or allow uploading videos, sharing and working from anywhere in the world The possibilities are multiple, but in all cases, they are aimed at people who are already working in the 267 Digital Platforms Focused on Audiovisual sector, who have proven experience, although the filter of what is professional, enthusiastic or amateur is not very clear on the platforms studied Platforms Census Focused on Audiovisual Ecosystem The following census was carried out between 2017 and 2019 The method used was mainly the netnographic, through internet research in English, Spanish, Portuguese and French language, and through keywords such as platforms, cinema, audiovisual platforms, collaborative platforms, digital cinema platforms, and their variables in other languages They were also consulted, blogs, press articles, news in specialized magazines and forums Based on this information, a list of platforms oriented to support the audiovisual creation process was formed Video-on-demand platforms, since they not support the production process as such, were discarded Artella a Created in 2013 b Headquarters: United States c Website: https://www.artella.com d User profile: professionals, recent graduates, and students e Business Model: Subscription f Cost: 90 days free trial Between $ 10 and $ 30 USD per month g What it does: Cloud-based animation platform h Tools that enhance productivity for studios, agencies and designers that actually makes project management fun i Production process it helps: Assemble work teams, develop animations This platform is very particular because it is focused on creating animation collaboratively Cinando a Created in 2003 b Headquarters: France c Website: https://cinando.com d User profile: professionals e Business Model: Subscription f Cost: 99€ per year g What it does: Complete database of attendees at some film festivals and market events such as the American Film Market It offers film professionals the best tools to navigate in the industry: contacts, films, projects under development, market projection schedules and market attendees h Production process it helps: Mainly film festivals Cruhub a Created in 2015 b Headquarters: Spain c Website: https://cruhub.com/ d User profile: professionals and semi-professionals e Business Model: Freemium f Cost: Premium 8.40€ per month 268 Digital Platforms Focused on Audiovisual g What it does: It is a worldwide online community for film, television and video professionals Cruhub is a work center, it is the virtual office where professionals and clients can meet each other Through the platform, you can get references from the people you have worked with, send quotes and find work h Production process it helps: Assemble work teams, submit projects Primarily preproduction Eventival a Created in 2009 b Headquarters: Czech Republic c Website: https://www.eventival.com/ d User profile: professionals, semi-professionals, recent graduates, students e Business model: Software as a Service f Cost: 3,300€ per year g What it does: Eventival is a European company that rose to prominence in the film industry as the creator of the most widespread film festival management software that helps festivals dedicate more time and space to creative work and decrease mechanical, exhausting and repetitive activities h Production process it helps: Mainly film festivals Festhome a Created in 2010 b Headquarters: England and Spain c Website: https://festhome.com/ d User profile: professionals, amateurs, recent graduates and students e Business model: Two or more sides f Cost: 2€ sending a movie to a festival / 50€ annual pass g What it does: Festhome is an Online film festival submission center Provides a platform where the filmmakers can send their works to film festivals from all over the world These festivals have a private area that allows to visualize, manage the film information and control the selection process separately Our platform also offers a traffic solution for film festivals, that allows filmmakers to upload an exhibition copy of up to 20 GB h Production process it helps: Distribution Festival Scope a Created in 2010 b Headquarters: France c Website: https://feestivalscope.com/ d User profile: professionals e Business model: Two or more sides f Cost: € 70 per year g What it does: Festival Scope Pro is the B2B platform for film professionals only, allowing programming of festivals to be viewed online h Production process it helps: Film festivals Filmarket Hub a Created in 2014 b Headquarters: Spain c Website: https://www.filmarkethub.com/ 269 Digital Platforms Focused on Audiovisual d User profile: professionals, amateurs, recent graduates and students e Business model: Combination of subscription and bait and hook f Cost: From 49.99€ to 199.99€ in script analysis / Market + annual script analysis 249.90€ per year g What it does: Online market for cinema and series in development Combine projects with production companies around the world Script Analysis Pitching of projects at film festivals There is a social network within the platform that allows peer collaboration h Production process it helps: Script analysis Search for financing Filmfreeway a Created in 2014 b Headquarters: Canada c Website: https://filmfreeway.com d User profile: professionals e Business model: Two or more sides f Cost: Depends on shipping g What it does: More than 800,000 filmmakers, writers and artists use FilmFreeway to present themselves to more than 7,000 of the best film festivals and contests in the world FilmFreeway is the platform for registering films to film festivals worldwide h Production process it helps: Distribution Frame.io a Created in 2015 b Headquarters: United States c Website: https://frame.io/ d User profile: professionals e Business model: Software as a Service f Cost: between $ 19 and $ 49 usd per month g What it does: Frame.io is a platform for video review and collaboration Upload videos and allow collaboration between directors, producers, editors, executives and more, with precise comments and integrations into many common postproduction tools such as Premiere Pro, Final Cut Pro X and DaVinci Resolve h Production process it helps: Editing process 10 Glymt a Created in 2015 b Headquarters: United States and Portugal c Website: https://glymt.com/ d User profile: professionals, semi-professionals and enthusiasts e Business Model: P2P f Cost: It is a space for buying and selling audiovisual material It keeps a percentage of the transactions It has no cost per use g What it does: It is a user generated video request platform It helps companies obtain personalized content, as well as owners and brands of small businesses, freelancers and digital agencies to create and license authentic video content from their fans and other video creators around the world with all license fees h Production process it helps: Production 270 Digital Platforms Focused on Audiovisual 11 Gruvi a Created in 2010 b Headquarters: United Kingdom c Website: https://gruvi.tv/ d User profile: professionals e Business model: buy and sell f Cost: It adapts to the budget g What it does: Gruvi is a media agency based on a technology that helps entertainment companies reach and attract audiences online Gruvi technology tracks everything from initial contact with online advertising to buying tickets, downloading or streaming online It does so through a platform that speeds up the process of launching online advertising campaigns Gruvi’s customer base includes HBO, Sony, Disney and several independent distribution companies worldwide h Production process it helps: Advertising and Marketing 12 Inktip a Created in 2001 b Headquarters: United States c Website: https://inktip.com/ d User profile: professionals e Business model: subscription f Cost: There is a free and paid service, from $30 to $90 usd g What it does: Help writers sell scripts for movies, television, and to be hired; It also allows producers, agents, managers, directors, filmmakers and renowned talents to find scripts and screenwriters h Production process it helps: Script analysis Recruitment 13 Labfilm a Created in 2019 b Headquarters: France c Website: http://www.labfilms.org d User profile: professionals and amateurs, recent graduates, students e Business model: donations f Cost: Free g What it does: It is first and foremost a collective project, supported by a team of enthusiasts creating videos and movies United as an association, they have been working for months to create a collaborative web platform dedicated specifically to the audiovisual creation of their production A common space and tool designed by creators for creators, at the service of the emergence of talents and the development of collaborative networks and professionalization h It aims to make the platform a complete ecosystem for audiovisual creation i Production process it helps: Development and production 14 Mandy a Created in 2003 b Headquarters: England c Website: https://www.mandy.com/ d User profile: professionals 271 Digital Platforms Focused on Audiovisual 15 16 17 18 272 e Business model: employment f Cost: There is a free service and also a PRO for £ 15 per month, or £ 120 per year g What it does: It is a network of jobs for the film, television, theater and advertising production industry More than 2.3 million creative professionals use Mandy to find work and networks, including actors, film and television equipment, voiceover artists, dancers, singers, musicians and extras h Production process it helps: Recruitment Mofilm a Created in 2009 b Headquarters: United Kingdom c Website: https://www.mofilm.com/ d User profile: professionals, semi-professionals and students e Business Model: Reward f Cost: There is no cost for the one who presents ideas g What it does: Mofilm connects brands with a diverse community of more than 10,000 filmmakers from around the world to create authentic and relevant local video content based on crowdsourcing, technology driven and curated by a team of professional the agency His fundamental belief is that many voices are better than one As part of the world’s first brandtech group, You & Mr Jones, helps brand marketers their job better, faster and cheaper through technology h Production process it helps: Creation of advertising content Movibeta a Created in 2009 b Headquarters: Spain c Website: http://festival.movibeta.com d User profile: professionals, amateurs, recent graduates and students e Business model: Two or more sides f Cost: For the user, between 1€ and 2€ per festival registration g What it does: Movibeta is an automated file and video distribution system h Production process it helps: Distribution Movidiam a Created in 2014 b Headquarters: England c Website: https://www.movidiam.com/ d User profile: professionals, recent graduates and students e Business Model: Employment f Cost: There is a free service and also a Pro for $25 usd per month per user g What it does: It is a network of 15,000 world-class creative talents Professional at a global level, it is a market and a project management platform for creative industries, its network includes international agencies, the main production companies and Oscar-winning filmmakers h Production process it helps: Recruitment and production Movinmotion a Created in 2012 b Headquarters: France Digital Platforms Focused on Audiovisual c d e f g Website: https://www.movinmotion.com/ User profile: professionals Business model: Two or more sides Cost: Registration is free They offer services of varied costs What it does: Movinmotion is a collaborative web platform designed specifically for entertainment professionals that simplifies hiring, social management and payment to artists and technicians Each employer has a control panel that allows you to follow and perform, with a single click, all administrative steps (employment contract, payroll, social statements ) Automatic reminders help you meet the deadlines of these various administrative procedures The data entered is safe and strictly confidential h Production process it helps: Preproduction 19 My Role a Created in 2015 b Headquarters: France c Website: http://myrole.fr d User profile: professionals e Business Model: Employment f Cost: Registration is free They offer services of varied costs g What it does: My Role is an administrative management service for films, auditions and advertising You can manage research for the hiring of actors by producers, or casting agencies It allows actors to contact each other h Production process it helps: Preproduction 20 Nerdeo a Created in 2013 b Headquarters: England c Website: http://www.nerdeo.net/ d User profile: recent graduates e Business Model: Subscription f Cost: Beta test without cost In a couple of years they plan to implement a subscription g What it does: It is a platform for professionals in the film, television and videogames industry This service allows to connect, globally and locally, the best talents and students with directors and producers Its objective is to promote the transfer of skills in these industries, providing low-cost tools for collaboration Nerdeo was born to fill the gaps in the production life cycle, after first-hand experience in independent production h Production process it helps: Production 21 Reelport a Created in 2004 b Headquarters: Germany c Website: https://www.reelport.com/ d User profile: professionals, amateurs, enthusiasts, recent graduates and students e Business model: Two or more sides f Cost: 2€ for short registration 273 Digital Platforms Focused on Audiovisual g What it does: Platform for distribution of films to film festivals From the beginning, Reelport allows uploading videos on its interface and is the first to apply the payment for registration, with 2€ per short film, a model that has been followed by the rest of the platforms in Europe h Production process it helps: Distribution i Note: Platform closed in 2019 22 SetKeeper a Created in 2013 b Headquarters: France c Website: https://www.setkeeper.com d User profile: professionals e Business model: buy and sell f Cost: Depends on the project budget g What it does: Coordinate the physical production process simply and safely Streamlines approval processes for a production in all departments, from its preparation to making it public It helps keep production moving forward with interactive communication for decision makers: locations, casting and more h Production process it helps: Preproduction 23 Shooting People a Created in 1998 b Headquarters: England c Website: https://shootingpeople.org/ d User profile: professionals e Business model: subscription f Cost: £ 10.95 per month or £ 39.95 per year g What it does: It is a platform dedicated to the support and promotion of independent cinema Founded in 1998 in the United Kingdom by Jess Search and Cath Le Couteur, both filmmakers, it became a great success by word of mouth and currently has more than 38,000 members in the United Kingdom and the United States By partnering with festivals and other industry organizations, and by developing tools, they allow members of the film community to instantly connect and exchange basic skills, resources and tips, Shooting People has stimulated debate and facilitated new collaborations, which It has generated thousands of productions h Production process it helps: Production 24 Studio Binder a Created in 2014 b Headquarters: United States c Website: https://www.studiobinder.com/ d User profile: professionals e Business model: Software as a Service f Cost: From free at $99 usd per month g What it does: The world’s leading video, television and film production management software i Creation and distribution of professional call sheets ii Script breakdown sheets iii Filming schedule iv Contacts in one place 274 Digital Platforms Focused on Audiovisual 25 26 27 28 v Upload and control all files h Production process it helps: Preproduction The Black List a Created in 2009 b Headquarters: United States c Website: https://blcklst.com/ d User profile: professionals, semi-professionals and recent graduates e Business model: subscription f Cost: $30 to $75 usd per month g What it does: It is a platform that puts writers, buyers and representatives in contact, facilitating its network and interconnection h Production process it helps: Script analysis Userfarm a Created in 2007 b Headquarters: England c Website: https://www.userfarm.com d User profile: professionals, amateurs, recent graduates, students e Business model: Bait and hook f Cost: There is no cost for the one who presents ideas g What it does: It is the first global video platform for brands, publishers and agencies that want to attract audiences more effectively through high-quality video content Userfarm is a global crowd of more than 120,000 filmmakers, classified by seniority, creative attitude and management style h Production process it helps: Production Verkami a Created in 2010 b Headquarters: Spain c Website: https://www.verkami.com d User profile: professionals, recent graduates, students e Business Model: Reward f Cost: The platform receives a percentage of the amount they contribute to each project g What it does: Verkami is the reference crowdfunding platform for independent creators A simple, powerful and value-added way to fund projects collectively, involving the public in a new cultural experience h Production process it helps: Financing Vibuk a Created in 2016 b Headquarters: Spain c Website: https://www.vibuk.com/ d User profile: professionals, semi-professionals and students e Business model: subscription f What it does: It is a professional social network for artistic talent and entertainment, a social community oriented to the audiovisual industry and employment The website puts companies and individuals with artistic talent in contact 275 Digital Platforms Focused on Audiovisual 29 30 31 32 276 g Production process it helps: Talent search Weereel a Created in 2015 b Headquarters: Spain c Website: https://weereel.com/ d User profile: professionals e Business model: employment f Cost: Free g What it does: It is a professional audiovisual employment platform It allows the search for talent, manage selection processes of the audio and video sector exclusively, connecting agencies, producers and professionals Weereel collects all industries within the audiovisual world, be it advertising, corporate videos, movies or online content; and also, all disciplines: from a filmmaker or director of photography to a 3D rigger or an electrician h Production process it helps: Postproduction Wipster a Created in 2016 b Headquarters: New Zealand c Website: https://wipster.io/ d User profile: professionals e Business model: Software as a Service f Cost: From $99 to $540 usd annually g What it does: Wipster is a video publishing and collaboration platform that allows companies to create and deliver better videos, faster With Wipster, marketing and creative content teams can efficiently collaborate on video reviews, store them in a library of shared multimedia assets, publish videos in a variety of tools and easily understand the results, all on one platform h Production process it helps: Post Production Withoutabox a Created in 2000 b Headquarters: United States c Website: https://www.withoutabox.com d User profile: professionals, amateurs, enthusiasts, recent graduates and students e Business model: Two or more sides f Cost: It depends on the festival you are submitting g What it does: It is a professional platform that allows independent filmmakers to distribute their films for themselves Pioneer company that was subsequently bought by IMDB, a branch of the Amazon company h Production process it helps: Distribution i Note: Platform closed in 2019 Yamdu a Created in 2015 b Headquarters: United States c Website: https://yamdu.com/ d User profile: Professionals, semi-professionals and students e Business model: Software as a service Digital Platforms Focused on Audiovisual f Cost: From 12€ to 59€ per month g What it does: Yamdu is a web application for the production of movie and media content Yamdu covers most of the steps from development to production and exhibition h Production process it helps: Preproduction and Production SOLUTIONS AND RECOMMENDATIONS How the platforms and the industry relate is close, but not enough for me to have permeated it It will probably take a generation to see how far these platforms might go That a non-profit platform is launched on October 11, 2019 in a small French city like Strasbourg and that two weeks later it has 320 users and 20 film projects, speaks of the need that exists for students, graduates, enthusiasts of the film production and professionals to join, meet, make alliances and produce collaboratively Most of the agents who participated in the interviews consider that these platforms are the future Business models, ways of interacting, searching for projects, contracts will be changed through the platforms If they seem to be a viable option in the future They require investment to make themselves known, also, require the will of the consolidated agents of the ecosystem Is necessary a more complete platform, which allows work on a single place all phases of production, and not jump from one to another as the phase progresses In the current dynamics of a changing market for audiovisual consumption, important agents in the Hollywood industry are rearranging their forms of production and contended to face the forms of consumption that the era of streaming and the internet has brought The combination of the need for digital innovation and the needs of the market is stimulating a digital creative economy, but it is not fully absorbing it, at least not directly REFERENCES Acosta, S (2013) Informática de gestion: TIC Aplicación web para el trabajo colaborativo Barcelona: Academic Press Alberich, J., & Roig, A (2008) Creación y producción audiovisual colaborativa Implicaciones sociales y culturales del uso de software libre y recursos audiovisuales de código abierto UOC Papers: Revista Sobre La Societat Del Coneixement, 7, doi:10.1109/41.538611 Alberich-Pascual, J., & Gómez-Pérez, F J (2016) Exploraciones transmedia en la creación cinematográfica colaborativa iberoamericana contemporánea Artnodes, 2016(18), 28–36 doi:10.7238/a.v0i18.3054 Alfonso Sánchez, R (2017) Economía colaborativa: un nuevo mercado para la economía social CIRIECEspa, Revista de Economía Pública, Social y Cooperativa, (88), 231 doi:10.7203/ciriec-e.88.9255 Anderson, C (2006) The Long Tail: why the future of business is selling less of more New York: Hyperion Books Bauwens, M (2014) La economía política de la producción entre iguales Hipertextos, I(2), 15–29 277 Digital Platforms Focused on Audiovisual Baxter, R., Hastings, N., Law, A., & Glass, E J (2008) Anuario AC/E 2018 Cultura Digital Animal Genetics, 39 Belinchón, G (2018) ‘El cosmonauta’: La película que devoró a sus creadores | Cultura | EL PS El Ps Retrieved from https://elpais.com/cultura/2018/01/24/actualidad/1516833949_241307.html Belsunces, A (2016) Narración colaborativa como tecnología blanda: Funciones, aplicaciones y desafíos AusArt, 4(2), 127–142 doi:10.1387/ausart.17017 Berlinguer, M., Martinez, R., Fuster Morell, M., & Subirats, J (2013) Modelos emergentes de sostenibilidad de procomunes audiovisuales Teknokultura Revista de Cultura Digital y Movimientos Sociales, 10(1), 131–153 doi:10.1063/1.3480420 Bocanegra, O., & Ernesto, C (2017) Economías colaborativas; regulación y competencia Revista de Derecho Privado, (57), 1–22 Boix, R., & Lazzeretti, L (2012) Las industrias creativas en España: Una panorámica Investigaciones Regionales, (22), 181–205 Brown, J Jr (2008) From Friday to Sunday: The hacker ethic and shifting notions of labour, leisure and intellectual property Leisure Studies, 27(4), 395–409 doi:10.1080/02614360802334922 Buitrago, F., & Duque, I (2013) La Economia Naranja: una oportunidad infinita Banco Interamericano de Desarrollo Calvi, J (2005) La circulación de productos audiovisuales en Internet Análisis de una lógica de distribución, intercambio y reproducción cultural en la era digital, 1–8 Campi, W (2016) La cocreación digital como mecanismo de transmutación de la audiencia en participante In II Congreso Internacional Educación Mediática y Competencia Digital Barcelona: ResearchGate 10.13140/RG.2.1.1545.3207 Canclini, N., Cruces, F., & Urteaga, M (2012) Jóvenes, culturas urbanas y redes digitales Madrid: Fundación telefónica/Ariel Carrasco, V., & García, D (2013) Creación Audiovisual Colaborativa Online: Procesos y Herramientas Alicante: Festival de Cine de Alicante Casani, F., Rodríguez-Pomeda, J., & Sánchez, F (2012) Los nuevos modelos de negocio en la economía creativa: Emociones y redes sociales Universia Business Review, 33, 48–69 Celaya, J Vázquez, J (2016) Consolidación de los modelos de negocio en la era digital Academic Press Christopherson, S., & Storper, M (2016) The Effects of Flexible Specialization on Industrial Politics and the Labor Market : The Motion Picture Industry Industrial and Labor Relations Review, 42(3), 331–347 Cotidiano, E., & Orozco, V (2005) Internet como plataforma de la Nueva Economía El Cotidiano, (130), 24–30 Creswell, J (2003) Research Design: Qualitative, Quantitative, and Mixed Methods Approaches SAGE Publications doi:10.1186/1476-069X-10-39 278 Digital Platforms Focused on Audiovisual Crotty, M (1998) The Foundations of Social Research: Meaning and Perspective in the Research Process SAGE Publications Daly, K (2010) Cinema 0: The Interactive-Image Cinema Journal, 50(1), 81–98 doi:10.2307/40962838 De Peuter, G (2011) Creative economy and labor precarity: A contested convergence The Journal of Communication Inquiry, 35(4), 417–425 doi:10.1177/0196859911416362 Donovan, S A., Bradley, D H., & Shimabukuro, J O (2016) What Does the Gig Economy Mean for Workers? Congressional Research Service: Report Retrieved from http://search.ebscohost.com/login aspx?direct=true&db=tsh&AN=112855546&site=ehost-live Dougherty, D (2012) The Maker Movement Innovations: Technology, Governance, Globalization, 7(3), 11–14 doi:10.1162/INOV_a_00135 Elder-Vass, D (2018) Lifeworld and systems in the digital economy European Journal of Social Theory, 21(2), 227–244 doi:10.1177/1368431017709703 Escudero, J., & Galán, R (2019) Modelos de negocio sólidos para tu idea de empresa Retrieved June 24, 2019, from https://www.emprendedores.es/crear-una-empresa/g57161/ejemplos-modelos-de-negocio/ Estellés-Arolas, E., & González-Ladrón, F (2012, March) Towards an integrated crowdsourcing definition Journal of Information Science, 1–14 doi:10.1177/0165551512437638 European Commission (2016) Online Platforms Digital Single Market, 2016 doi:10.1002/ejoc.201200111 Fernández-de-Arroyabe, A., Lazkano, I., & Eguskiza, L (2018) Nativos digitales: Consumo, creación y difusión de contenidos audiovisuales online Comunicar, 26(57), 61–69 doi:10.3916/C57-2018-06 Florida, R (2009) Las ciudades creativas: Por qué dónde vives puede ser la decisión más importante de tu vida Ediciones Paidós Follows, S (2014) How many jobs are in Shooting People’s Retrieved November 24, 2017, from https:// stephenfollows.com/how-many-jobs-are-in-shooting-peoples-filmmaker-bulletin/ Follows, S (2018) How has the average Hollywood movie crew changed? Retrieved September 11, 2018, from https://stephenfollows.com/how-has-the-size-of-hollywood-movie-crews-changed/ Fundéu, B B V A (2012) Plataformas multimedia Retrieved April 2, 2017, from https://www.fundeu es/escribireninternet/plataformas-multimedia/ García, M., & Saras, C (2016) ¿Qué es la economía digital? Retrieved October 31, 2017, from http:// economiadigital.etsit.upm.es/que-es-la-economia-digital-maria-garcia-maresca-y-celia-saras-gonzalez/ Govier, T (2004) Social Trust and Modern Economies: The Example of Shopping Berlin: Springer; doi:10.1007/978-3-662-10347-0_15 Guerra, I., & Revuelta, J (2017) El movimiento Maker como ecología de aprendizaje : estudio del caso Gumiparty Ciaiq 2017, 1(1), 422–430 Retrieved from http://proceedings.ciaiq.org/index.php/ciaiq2017/ article/view/1360/1318 279 Digital Platforms Focused on Audiovisual Hatzopoulos, V (2018) The Collaborative Economy and EU Competition Law In Bloomsbury (Ed.), The Collaborative Economy and EU Law (p 270) Hart doi:10.5040/9781509917167.ch-004 Hernández Sampieri, R., & Mendoza Torres, C P (2018) Metodología de la investigación : las rutas cuantitativa, cualitativa y mixta Mc Graw Hill Hjorth, I (2012) Cultural peer-production: A case study of the Wreckamovie community doi:10.1142/ S1088424606000442 Kenney, M., & Zysman, J (2015) Choosing a future in the platform economy: The Implications and consequences of digital platforms Kauffman Foundation New Entrepreneurial Growth Conference Libro Verde: Liberar el potencial de las industrias culturales y creativas (2010) Retrieved from https:// eur-lex.europa.eu/legal-content/ES/TXT/?uri=LEGISSUM%3Acu0006 López Sánchez, J (2007) Evolución de los modelos de negocios en internet: situación actual en Espa de la economía digital Economía Industrial, (364), 213–229 Loyo, A (2018) tipos de plataforma de economía colaborativa | Ana2LP Retrieved November 1, 2018, from https://www.ana2lp.mx/comercio-electronico/modelos-de-negocio-para-la-economia-colaborativa/ Magny, J (2005) Vocabularios del cine: Palabras para leer el cine/ Palabras para hacer cine/ Palabras para amar el cine (Los pequ) Barcelona: Paidós Mancinas, R (2007) Industrias culturales en américa latina: la tendencia a la concentración frente al potencial crecimiento del mercado Ámbitos, 2007, 459–477 Marín, V., Negre, F., & Perez, A (2014) Entornos y redes personales de aprendizaje (PLE-PLN) para el aprendizaje colaborativo Comunicar: Revista Científica Iberoamericana de Comunicación y Educación, 21(42), 35–43 doi:10.3916/C42-2014-03 Martín, I (2014) La revolución digital en la inscripción y proyección en festivales Retrieved October 11, 2018, from https://dialnet.unirioja.es/servlet/articulo?codigo=5068758 Martin, I (2018) El desarrollo de proyectos en el cine independiente español: convocatorias para que empieces a mover tu proyecto hoy mismo Retrieved November 4, 2018, from http://ismaelmartin com/2018/10/10/convocatorias-desarrollo-de-proyectos/ Massarolo, J., & Tavares, M (2004) Industria audiovisual e os novos arranjos da economia digital Curitiba: Comunicación presentada en XXXII Congresso Brasileiro de Ciờncias de Comunicaỗóo Retrieved from https://www.academia.edu/3236445/Industria_audiovisual_e_os_novos_arranjos_da_economia_digital Mata, J (2014) Las campañas de crowdfunding su eficacia en proyectos lucrativos y causas sociales Universitat Ramon Llull Retrieved from http://www.tdx.cat/handle/10803/279390 Minds, P (2013, April 29) Production Minds Launches Cloud-based Collaboration Platform for the Film, TV & Production Minds Launches Cloud-based Collaboration Platform for the Film, TV PR Newswire, 29–31 Retrieved from https://www.edn.com/electronics-products/electronic-product-releases/ analog-products/4412902/Production-Minds-Launches-Cloud-based-Collaboration-Platform-for-theFilm-TV Video-Industry 280 Digital Platforms Focused on Audiovisual Navarrete Nossa, J D., Montoya Restrepo, L A., & Montoya Restrepo, I A (2009) Clusters como un modelo en el desarrollo de los negocios electrónicos Innovar (Universidad Nacional de Colombia), 19(34), 35–52 Retrieved from http://www.scielo.unal.edu.co/scielo.php?pid=S0121-50512009000200004&am p;script=sci_arttext&tlng=pt Nicuesa, A E V (n.d.) La regulación europea de las plataformas de intermediarios digitales en la era de la economía colaborativa Revista Crítica de Derecho Inmobiliario Retrieved from https://www academia.edu/37881864/La_regulación_europea_de_las_plataformas_de_intermediarios_digitales_en_ la_era_de_la_economía_colaborativa O’Connor, K (2019) How to hire a film crew if you’re a video newb - Vimeo Blog Retrieved November 2, 2019, from https://vimeo.com/blog/post/how-to-find-and-hire-a-film-crew-when-you-re-on-a/ Ohara, D (2012) Technology-Assisted Remote Collaborative Documentary Filmmaking Workflow Design and Experiment Keio University Palma, L A M., & Aguado, L F Q (2010) Economía de la cultura una nueva área de especialización de la economía Revista de Economia Institucional, 12(22), 130–165 Pampillón, R (2001) La Nueva Economía: Análisis, Origen Y Consecuencias Las Amenazas Y Las Oportunidades Economía Industrial, (340), 43–50 Retrieved from http://www.mincotur.gob.es/Publicaciones/Publicacionesperiodicas/EconomiaIndustrial/RevistaEconomiaIndustrial/340/3RafaelPamp illon.pdf Paniagua, A (2015) “Life in a Day”, la película que originó el retrato colectivo de la vida Rtve.Es Retrieved from http://www.rtve.es/television/20151019/life-in-day-pelicula-origino-retrato-colectivovida/1239355.shtml Parker, N (2007) Short Films… how to make and distribute them Creative Essentials Pérez, J P., & Gómez, F J (2010) Paradigmas de la producción audiovisual en la web 2.0 Razón y Palabra, 72, 1–15 Pi, G C., Mark, C., Gono, L., Guglani, A., Linksvayer, M., Stone, V., & Chik, W (2007) Remix culture : an empirical analysis of creative reuse and the licensing of digital media in online communities Academic Press Plan Avanza - Gobierno de Espa (2012) Libro blanco del comercio electrónico Asociación Espola de la Economía Digital; Retrieved from creativecommons.org/licenses/by-nd/3.0/es//# PRNewswire (2016) Free Online Collaboration Platform for Independent Film and Games Industry Retrieved May 24, 2017, from https://www.lelezard.com/en/news-9950852.html Rodríguez, R (1996) Rebel without a crew PLUME Rodríguez, S (2017) Los modelos colaborativos y bajo demanda en las plataformas digitales Academic Press Rodríguez Merchán, E (2007) La ensanza del cine en Espa : Perspectiva histórica y panorama actual Comunicar, 15(29), 13–20 281