FEATURE
CINANDO
www.cinando.com
A natural outgrowth of all the registration details that are collected by the Cannes Film Festival every year, Cinando’s online database has grown to encompass 35,000 contacts, 20,000 films and projects and 1,600 online screeners. Cinando has made strenuous efforts to become a year-round reference and networking tool, one that is used at other major film events, including Berlin’s European Film Market, Hong Kong’s Filmart, the American Film Market (AFM) and Toronto. “Cinando is an extension of the services pro-
vided by the Marché du Film, a real, actual… film market,” says executive director Jerome Paillard, distinguishing himself from internet wannabes. “We have shared it with other film markets around the word and the industry loves that. Another key factor is that only reputable organisations can be trusted by the industry to handle their films.” Such trust will be essential if Cinando is to
The websites you need
Screen spotlights 16 online services which aim to assist with financing, rights management, box-office information, screenings and networking. Profiles by Colin Brown
BASELINE
www.baselineresearch.com
Having paid $35m to acquire Baseline’s movie and TV industry database in 2006, The New York Times promptly sold it back to the original owners, Mitchell Rubenstein and Laurie Silvers, last October. That duo already controls a stable of internet properties including Hollywood. com,
Spill.com and Hollywood Wiretap. Baseline is principally known for its high-end
flagship subscription service, The Studio Sys- tem, which offers an expanding array of direc- tory search, tracking and competitive intelligence services. “The feedback we hear most often is the market’s desire for one-stop shopping — a solution that eliminates the infi- nite white noise of the internet — and that’s what we strive to deliver,” says Kevin Wyatt, Baseline’s director of syndication sales, who has been with the company since 2002. Baseline sees international growth prospects
ahead, particularly in its data-licensing busi- ness: theoretically, the demand for localised entertainment can only increase as the world’s video delivery infrastructure transitions to dig- ital. There is also an opportunity for localised versions of The Studio System that speak to the business priorities of each territory. The chal- lenge will come in understanding what data
n 30 Screen International at the Berlinale February 10, 2012
‘The market desires one-stop shopping — a solution that eliminates the infinite white noise
of the internet’ Kevin Wyatt, Baseline
and business intelligence has value in the differ- ent markets. Countries with film industries that are largely state-sponsored have little interest in the competitive development information that is Baseline’s bread and butter in the US.
fulfil future ambitions. “Mobile is the most promising evolution, and definitely a challeng- ing one,” says Paillard. “Cinando is already available on the iPhone. The coming version will include iPad and we’re working on a mobile offline — but still secure — screening room. Instead of simply transposing the web version to these new devices, we are now developing solutions to answer the new needs born of mobility. “As a service created and run by the Festival
de Cannes, we are driven by serving the indus- try and the film-makers, rather than building a business. But I definitively see the possible emergence of the direct distribution concept as a potential growth area for Cinando.”
Launch date 1985. Key executives Amer Saleem, director of technology; Salvatore Capone, manager, sales team. Cost to users Service tiers and pricing vary from $5 a day to thousands per year. Ownership structure Privately held by Project Hollywood, LLC. Business model Subscription sales, a la carte information products, data licensing and syndication.
Launch date Born as
cannesmarket.com in 1999, the site became a year-round service as Cinando in 2007. Key executives Jerome Paillard, executive director; David Capaldi, project manager. Cost to users $115 (¤85) per year, but is included with the registration at the Cannes Marché and with such film market partners as AFM, EFM, Filmart. Ownership structure Owned by the Festival de Cannes AFFIF. Business model Advertising and subscriptions. Cinando is supported by the EU’s MEDIA programme.
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