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The Film Academy debate how digital platforms are changing the model of production and exhibition

01/06/2018

The Film Academy debate how digital platforms are changing the model of production and exhibition Domingo Corral, Gonzalo Salazar-Simpson, Jorge S nchez-Cabezudo, Juan Carlos Tous, M Luisa Guti rrez, Teresa L pez, Diego Rodr guez y Carlota Navarrete abordan en una jornada la influencia en la industria de las plataformas y la evoluci n del VOD.

La Academia de Cine organiz este martes la mesa redonda Las plataformas digitales y su influencia en la industria audiovisual, en la que productores, creadores y responsables de plataformas debatieron c mo la expansi n de estas durante la ltima d cada ha modificado patrones y h bitos de consumo de los espectadores y est cambiando tambi n las pautas de producci n. Son un elemento dinamizador y eso nos preocupa como creadores y como Academia de Cine , manifest el director general de la entidad, Joan lvarez, encargado de inaugurar la jornada.

La primera mesa redonda, que cont con Domingo Corral, director de ficci n original de Movistar ; Gonzalo Salazar-Simpson, productor y director de la ECAM; Jorge S nchez-Cabezudo, director, guionista y productor; y M Luisa Guti rrez, productora y moderadora de la jornada, abord el desembarco de nuevas plataformas en el audiovisual espa ol como productoras de contenido propio, el riesgo creativo, la democratizaci n de la creaci n audiovisual, el Big Data, las nuevas formas de consumo del espectador y las oportunidades para los productores en este nuevo escenario, entre otros temas.

Lo que es una realidad es que la mayor a de la poblaci n no tiene acceso a toda la oferta de cine en Espa a, salvo los que viven en Madrid y Barcelona, muchas pel culas no llegan a las salas , explic Corral sobre el sistema de ventanas actual. El director de ficci n original de Movistar celebr la llegada a nuestro pa s de plataformas internacionales como Netflix y HBO. A las buenas empresas la competencia nos hace mejores. En Movistar queremos trabajar con el mejor talento. No digo que estoy tranquilo, porque los millones de d lares que invierte Netflix a nivel global son mucho mayores que los 70 millones de euros que hemos invertido nosotros en producci n propia, pero s que prefiero este escenario a uno en el que estamos solos , asegur .

Salazar-Simpson ataj la pol mica que abri el Festival de Cannes sobre qu es cine. Nadie cuestiona que un libro, sea en tapa dura o tapa blanda, sea un libro y sin embargo, lo hacemos con el cine. Creo que habr que ordenar el contenido en torno al metraje, no respecto a d nde se ve , desgran el productor, que aplaudi que nunca hemos tenido un mecanismo de distribuci n para la cultura espa ola tan r pido y barato y se al los desaf os para las distribuidoras y los agentes de venta porque ahora aparece un solo distribuidor para numerosos territorios que nos simplifica las cosas a los productores .

Por su parte, S nchez-Cabezudo reivindic el enriquecedor trasvase de profesionales, creadores e historias entre cine y televisi n en nuestro pa s y advirti sobre los peligros y las virtudes de las nuevas plataformas en la relaci n creador-espectador. Permiten que los p blicos sean m s segmentados y que podamos llegar a esas parcelas, pero hay un momento en que el espectador va a ver exactamente lo que quiere ver y eso es un peligro. Hasta ahora los creadores lanzan las ideas y el p blico la recoge y las reconvierte. Pero no podemos convertirle en un ni o caprichoso que decida narrativamente , manifest .

Buscando un modelo de ventanas din micas La segunda mesa redonda puso el foco en la evoluci n y el futuro del Video On Demand y tuvo como protagonistas a Juan Carlos Tous, CEO de Filmin; Teresa L pez, directora de contenidos de Rakuten TV Europa; Diego Rodr guez Bl zquez, director de M rgenes; y Carlota Navarrete, directora de la Coalici n-Observatorio de la Pirater a. El acceso ilegal a contenidos audiovisuales, las sinergias con los mecanismos de promoci n de los estrenos en cine, la educaci n de los espectadores y el encaje entre las diversas ventanas de distribuci n fueron algunos de los aspectos clave que salieron a colaci n.

En Filmin defendemos un modelo de ventanas din micas. En el momento en que salga de las salas, que llegue a las plataformas. De los 40 d as que suelen estar en cartel a los 112 que espera para estar en las plataformas se crea un limbo que aprovecha la pirater a , defendi Tous, que reclam tambi n que todas las plataformas jueguen con las mismas reglas respecto al impuesto del 5% porque aunque no seamos competencia por el target, nos movemos en el mismo terreno .

Teresa L pez record que el 60% de las descargas piratas se realiza durante el primer a o de vida de la pel cula e incidi en que, dado el inter s manifiesto del p blico por los estrenos que percibe en Rakuten TV, con la limitaci n temporal que imponen los exhibidores se est perdiendo valor en estos 112 d as. Hay una promoci n, un dinero que se ha invertido en dar a conocer la cinta, que pierdes si no est disponible ni en salas ni en plataformas. El usuario puede ser legal y no piratear, pero igual cuando est disponible ya se ha olvidado de que existe la pel cula y no la ve .

Las cifras de la pirater a las expuso Navarrete, que se al que hemos notado en los estudios el incremento de la oferta legal en el mercado espa ol. Se ha consolidado el descenso de la pirater a en 2017 en un 6%, desde 2016, y ese a o hubo un descenso del 9% frente a las cifras de 2015 .

Diego Rodr guez reclam una mayor protecci n para las plataformas que han optado por los contenidos menos comerciales, pero s claves para la identidad cultural europea y espa ola. Tenemos que tomar cartas en el asunto con planes de alfabetizaci n audiovisual. Pasa por qu el Estado apoye el cine espa ol , reivindic .

El presidente en funciones de la Academia, Mariano Barroso, clausur el evento alabando el debate que se
LINK: https://www.panoramaaudiovisual.com/en/2018/05/30/plataformas-digitale...
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