May 12, 2020

Do virtual festivals work?

I just got back from the Animation Festival. For once, I didn't have to get on a plane or take four trains with a hangover. All I had to do was close my browser.

OnlineFestival.ITFS.de, a one-time virtual version of the Stuttgart International Animation Film Festival (ITFS), ended Sunday after six days of online films, master classes, interviews, and professional meetings. Stuttgart is one of Europe's leading animation events, and this was the most comprehensive virtual animation festival to date.

Unlike SXSW and Ann Arbor, the first festivals to be brought online by the coronavirus, OnlineFestival.ITFS.de was not completely free. In addition to the free live stream, there was a €9.99 (US$10.86) pass to stream this year's competition films and others, and a €19.99 pass for additional access to professional events. (See the official festival highlight reel in German and English.)

Naturally, I got my e-badge and checked out the event. What follows are my impressions, not of the programming, but of the online festival experience itself, which is taking root in this crisis...

I think tiered pricing is a nuanced and sustainable way to structure an online festival. Live streams were hosted prominently on the homepage and on the festival's Vimeo, Youtube, and Facebook pages, showcasing talks, interviews, and a grab bag of (mostly older) films. This feature made sense as a tool to increase awareness and engagement with OnlineFestival.ITFS.de. When I checked in, the audience was 50-70 people; at the awards ceremony, the audience was up to 150.

Making the rest of the festival paid will generate revenue for the festival and (hopefully) the filmmakers/distributors. (There were also sponsors and advertisements on OnlineFestival.ITFS.de.) The paywall also reassures filmmakers/distributors who worry that free public screenings of new films will jeopardize existing arrangements, such as pre-sales to channels.

According to the organizers, about 75% of the short films and 30% of the feature films initially selected for the reality festival were listed on OnlineFestival.ITFS.de. This is more than enough to justify the €9.99 price tag, but it is also evidence that a significant number of filmmakers/distributors have decided that this virtual event is not worth their participation.

The master classes and Q&A took place over two main time slots: early afternoon and evening (German time). An obvious advantage of the virtual format is the relative ease with which international guests can participate; OnlineFestival.ITFS.de took full advantage of this: I saw talks from industry figures living in the US, France, and Saudi Arabia. Viewers were able to ask questions via Zoom, but I did not see much use of this feature.

There were sometimes problems with sound levels and time lag. In one master class, the stream frequently paused for up to 10 seconds at a time. This problem was not limited to Stuttgart, but is inherent to this type of live online talk. On the other hand, everything ran on time, a rarity at the festival.

The various competition categories and sidebars were properly presented on separate pages. None of the films (with the exception of two features) had regional restrictions. From the perspective of short filmmakers competing for the audience's attention, the format seemed both more and less democratic than a real film festival.

More democratic because all the films are there, displayed individually, and can be viewed at any time. The size of the audience is not dependent on the convenience of the screening. It is not democratic because the audience is not captive. At the screenings, short films are chosen for me, and I give equal attention to all films. On my computer, which has no such mechanism, I find myself choosing films by filmmakers I already know. With on-demand video, our biases are likely to shape our viewing habits.

Several of the competition films had recorded short introductions by the filmmakers. These often provided interesting insights into the production process and were sometimes original and humorous.

By and large, the live stream was active from noon to midnight German time. Those in California, for example, would not be able to take full advantage of it (although, of course, with a pass they could always stream the competition films). In Stuttgart, which has a large German and European audience, this is not a problem. However, it will be interesting to see how Annecy, the most globalized animation festival, schedules its online edition next month.

Given the complex structure of OnlineFestival.ITFS.de, the layout was surprisingly clear. Each tier of the festival and its accompanying Gamezone fair had its own tab. Peripheral information (timetables, festival highlights, advertisements, etc.) was displayed without cluttering the page.

The live stream was intermittently in German, but it was less confusing than navigating through an actual German-language event. Next to the stream was a live text chat section, where organizers eagerly answered questions and viewers commented on the program, creating a semblance of social life at the festival.

Who are events like OnlineFestival.ITFS.de for - for professionals who want to discuss a particular project?

The main demographic at any film festival - people in the industry who want to network in general - will find these festivals frustrating. There is no online substitute for bonding over drinks with strangers, and no one is suggesting that virtual festivals will permanently replace real ones. In the long run, however, organizers may see benefits in expanding the range of online events. Some are already talking about this.

On the other hand, for animation enthusiasts who simply want to watch films, OnlineFestival.ITFS.de was a good fit. Participating in a real-life film festival costs more than 9.99 euros. By making a selection of the latest films available to anyone with a stable Internet connection, virtual film festivals will be able to animate new audiences. Stuttgart organizers say this is their ambition. The Stuttgart organizers have several advantages: a good reputation, the backing of sponsors (who were able to keep ticket prices low), and the novelty of the virtual experience. What about smaller festivals planning online events in the coming months? Besides, active animation fans will have already seen most of the films thanks to OnlineFestival.ITFS.de and Annecy Online. What are the selling points left for smaller festivals? What must they do to attract viewers, and producers?

I enjoyed my time (without drinking a drop) at OnlineFestival.ITFS.de. But its success raises as many questions as it answers.