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Should film makers treatment? Did you ever hear of the proposed “iTunes of the 1990’s” organization, a2b? I hadn’t, until recently (think it is in book Streaming, Posting, Stealing). In 1997, a2b proposed that folks anywhere with an web connection could download tracks onto their computers and pay attention to them whenever they wanted. They pitched their service to the big music studios, who switched them aside. The studios asked why they would want to embrace a technology designed to contend with their big moneymaker - CDs. They could have recognized the offer. It could possess allowed the studios to market directly to consumers. They would have had a totally hang on the distribution of music through an individual provider. But what happened instead? Two years later on, Napster revolutionised the music sector through piracy. A few years later, Apple stepped and helped combatted piracy by giving a convenient, legal service. Then came Rhapsody, Pandora, Spotify, and all sorts of other solutions.By turning a2b apart, the music market missed a chance to maintain their grasp on an integral part of their business model - the control of distribution. A2b were before their time, and they brought the solution to studios on a silver platter. Now, big online distributors reach “pull the strings”, while music studios and artists are in their mercy. Just like the music market in the 90’s, the thought of providing films to customers on the web and on demand at the same time they are released in cinemas appears extremely dangerous to those in the movie industry. Why would movie studios consider jeopardising their “money cow” - the cinema? Well, I’ll let you know why. The movie studios have been selling movies via theatres for decades, just like the music studios were selling music in some physical form. When people couldn’t obtain music in digital form at that time they desired it, piracy came along via Napster and peer-to-peer sharing, similar to what is happening now with online movie piracy.In an identical fashion, study in Streaming, Sharing, Stealing found that when ebooks or digital versions of Television and film arrived simultaneously while DVDs and hardcover books, the overall sales went up. But, if they were delayed to let DVDs and hardcover books sell 1st, digital sales plummeted. Why? Because digital users didn’t buy the hardback/DVD instead. They got a pirate edition. Or perhaps they simply went for something else or forgot about it all together. Senni Music to the present cinema situation? So, what comes next? After piracy in the music world, providers like iTunes came next - online options that are cheap and convenient. Not only did they provide people what they desired, they also lowered piracy rates. As a result, music studios lost control of distribution. Nowadays, in the event that you don’t have your music on iTunes, Spotify and comparable platforms, then you’re nearly going to maximise your product sales potential.The studios had a chance to own the whole creation and distribution network, just like Coke - who fundamentally have got full control over their network of creation, bottling and distribution. Today, you could be thinking, “How does this relate to movies? There are options on-line.” The difference is there are no legal options for when films are playing at the cinema - the time when movies are still “new and shiny”. Right now, the “cinematic window” continues to be in the piracy stage. The main studios and filmmakers still have an opportunity to manage distribution by using an online support that will cater to this part of their distribution cycle. And if they don’t.. ’ve heard this story before. The power of the big on the web streaming giants will earn out eventually. Yet more reasons… Chris Aronson, mind of distribution for 20th Hundred years Fox, mentioned in early 2017, “Post-theatrical revenues are plummeting, so we need to figure out methods to constitute that shortfall.” So at this time, they must maximise their theatrical period income.Consumers who view a film in theatres might also purchase videos of the film. So, the studios can increase “multiple purchasing behaviour” by moving up the video/online launch date and pricing it appropriately. A press frenzy surrounding theatrical discharge drives awareness and usage now and also months and also years later. Therefore, if studios desire to make the the majority of their releases, they must maximise the “frenzy” of the theatrical discharge by increasing people’s knowing of the movie. The living of an online support will help you to make multiple purchases at home and at the cinema, which also boosts your awareness of movie releases. Even Original Music of distribution, plus much more money today and in the future. Win/win for studios, correct? How does the story end? The studios use a services to stream movies through the cinematic window and gain some control of the globe of on-line distribution. The studios and support must have a good partnership where they can interact for mutual gain. The studios and filmmakers perform nothing, in which case, the people will determine where their curiosity and money stream. The cinemas will constantly make money, but I can’t imagine it'll be more than enough to maintain cinemas and studios long-term in current internet age group. As a streaming program, Beanbag Entertainment look for to work with cinemas and studios while they still have the opportunity to change the continuing future of distribution. Beanbag - the new age a2b.