Business Profile, Business Processes, And Feasibility Evaluation Of Nexus Distribution

Mission, Functions, and Product/Service Offerings of Nexus Distribution

1. Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the organisationis organised, products, services and customers.

• Copyrights acquisition and distribution for different media rights various films.
• Distribution and production of feature films and other contents.
• Distribution and production of content to different overseas nations
• 3D or 2D stereotypic conversion for animation, video formats, corporate films, advertisements, television programs and many more.
• Studio facilities involving latest equipment and technologies catering needs of post production perquisites of entertainment industry (Ciciretti, Hasan and Waisman 2015).

1. List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.

1. Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).

Figure 1: “Film promotion”

(Source: Garden and Awards, 2018)

Figure 2: “Cost of budget of the film: Crafting Film Budgets for Nexus”

(Source: Mueller, 2018)

1. Write must do, should do, could do and won’t do lists for the Nexus project.

 For Nexus project, the filmmakers must be helped to maximize their reach through getting to best festivals and best distribution.

• Instead of making film and then considering the way to get to film distribution, Nexus should consider aspects related to film distribution while screenwriting process goes on (Carroll Harris 2018).
• Nexus could see of their tasks as an overreaching effort to develop profitable or successful films.
• Nexus would not think about their film distribution as their films are already made.

1. Write a scope statement for the Nexus project.

                  Foreign distribution for Nexus has been developing to turn into a single largest film distribution category income exceeding domestic theatrical exhibition with video sales revenue (Sutter 2014).

1. Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).

Figure 3: “Scanning Nexus’ Business Model Environment for Disruptive Threats and Opportunities”

(Source: Garden and Awards, 2018)

1. What approaches to fact-finding will you adopt for the Nexus project? Why?

• Creating a motion picture marketing campaign
• Having a schedule deliverables providing distributors
• Preparation for supporting language translation queries from distributors.
• Creating distinct local home entertainment marketing campaign from deliverables.

All these must be done since Nexus intends to distribute good films (Smits 2016).

1. List four questions that will enable you to investigate the feasibility of the Nexus project.

• What are realistic and comprehensive understanding is to be made from production sector demand?
• How to identify resources those are both financial and non financial retrieved from different sectors?
• What feasibility model must be used for delivery of training and content?
• What kind of support and training must be undertaken?

1. List two tangible and two intangible benefits of the planned Nexus app.

Two tangible benefits for Nexus app are improvement in productivity of process and personnel lead time decrement.  Besides, an intangible advantage is that is saves high effort and time regarding data entry (Romanowski 2017).

1. Section 4.2.1 of Tilley & Rosenblatt (2017) lists various requirements modelling tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?

The reasons for the above models are to understand outcomes determining what are expected by Nexus. This also includes animating the model to help validating or visualizing requirements.

1. In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.

1. IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.

The total cost estimate is ((7*2)+(7*2)+(7*3)+(7*5))*(24*60*80)=$ 88704,000

1. Preparefor this meeting. Identify and list the four most important discussion topics.

• The ways to self-distribute films
• Submissions of film festivals knowing the options
• The steps that must be undertaken as after an award is won at Film Festival
• Expectations attending film market (Gunter 2018)

1. Stage 1, perception. Identify all ethical issues suggested by the scenario above.

 With the help of ethical standards Nexus never wants to be upset, offend or anger people animation and film companies having ethical regulations. This must be undertaken such that no ethical challenges occur.

The ethical issues rising for Nexus regarding film distribution:

• Intellectual property
• Nondisclosure
• Image content
• Business ethics

1. Stage 2, discernment. Which of the ethical issues is the most significant? Why?

The intellectual property is the most significant ethical issue. This is because they can help Nexus’ producers attract funds required get any film project off their ground. Further, they have been enabling directors, screenwriter, actors, artists and technicians to earn living. Moreover, they have been spurring technological innovations pushing boundaries of creativity. Further they have been making seemingly impossible very much possible (Finney 2014).  

1. Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.

Nexus needs to look at long list of credits during the ending of any movie. This is to get hint of crowd of people involved for marketing that.  This has been a complicated and collaborative endeavour providing the rise of various distinct layers of rights related to various elements of productions. This includes music, direction, performances and production.

Rights connected to all of that requires licensing, transferring and documenting for allowing the producer to turn creative concepts to marketable concept. This is to claim ownership of film and raising needed money to develop the film. This also involves distribution of license rights such that it gets reached to most of the audiences (Crisp 2015).

1. Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?

Nexus must seek expert advice to face the above discussed issues. Instead of any permits or permission manipulates should shut down. Their production, fine them or potentially confiscate equipment. Private locations on the other hand might stop Nexus at any moment. Along with bigger budget production in hand, set gets meticulously managed with small chance of anything that accidentally makes onto the screen. Under no-budget world, filmmakers of Nexus captures scene at their most liked diner. Further, they require to pay attention to branding or music sneaking to a shot.

1. Stage 5, decision. What are your professional duties in this situation? Why?

Four Business Processes of Nexus Distribution for the Proposed Nexus App

A production company should also consider whether the script infringes the copyright associated with another work. Typical measures to avoid such an issue would include doing a Copyright Office search and having the copyright holder make certain representations and indemnify the company for any such breaches. Note that copyright is only validly transferred by a signed, written agreement.  

Nexus must consider whether their script infringes various copyrights related to other works. There have been typical measures for avoiding that kind of issue including conducting a “Copyright Office” search and have copyright holders making particular representations. It has been also including indemnifying Nexus for those kinds of breaches. It must be reminded regarding professional duties that copyright is the only validity that is transferred to be signed or is a written agreement (Koçer 2015).

1. Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?

The above stages have been helping to form commitment to undertake various actions. This is because production companies have owned copyrights to scripts. These must be shot by Nexus. Since copyright is developed by people fixing work in a tangible form of expression, this indicates that instead any contrary, person holding the camera possess the copyright to hold the audio-visual recorded work. In most cases one probably never intends to let cameraperson won their property forming core of Nexus’ business.

1. With respect to the systems planning tasksyour team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
   1. Nexus

Nexus’ core product is their intellectual property. This is the copyright as discussed above. As they wish their film to be seen under the daylight without being named as defendant, they need to consider how the right could be handled.

1. Nexus’s customers or the wider community

Performance in public might infringe owners of copyright like Nexus till they have purchased PPR or Public Performance rights from various copyright owners. Further, there is some applicable exception for PPR requirements (Drake et al. 2015).

1. Your own future work tasks (systems analysis tasks)

The film distribution must shift from supply led to a demand-led marketplace. Thus independent distributors like Nexus should break away from their rigid singular value chain that has been dominating the industry and adopting various bespoke release strategies. These must be tailored to individual perquisites of every film. It has been arguable marking the starting of basic shift in relationship between primary segments in film value chain (Romanowski 2017). It has been permitting independent distributors to develop more attractive product through conducting business against consumer demands as opposed to complex market-driven conditions.

1. With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?

System planning personnel must focus on details of rules and procedures applicable under different jurisdictions they have been serving and helping filmmakers to navigate a wide range of pre-permit issues of locations. They are not limited to the follows, but including these aspects.

• Identification of logistical challenges
• Understanding particular filming conditions and other distinct characteristics of neighbourhood.
• Using Nexus’ online library.

Stages for Successful System Planning of the Nexus Project

It must be reminded that commu8nity stakeholders also get benefitted from the above process. This is because their concerns have been known early to the producers weight what location is to be selected for production (Carroll Harris 2018).

1. How do peer reviews support the development of professional skills?

Creative, commercial and professional skills are needed in all branches of the film industry, including distribution. Their films get released in the whole country on about 400 prints around multiplexes and few independents. Holdovers for films are negotiated readily on the basis of successful start, strong reviews and word-of-mouth. Then exit polls are considered (Tilley & Rosenblat 2017). Distributors then considers based on the prior stage for spending excessive marketing money beyond that over radio or Internet. This is to support and maintain the momentum for seven days or more.

1. Are learning outcomes meaningful if peer reviews are untruthful?

Yes, the learning outcomes are meaningful. It would help the distributors of Nexus to invite journalists and exhibitors along with watch parts of their shoot and create anticipation for actual release. Further, distributors can present their film to board of film classification certificate of the nation assuring that no issues are taking place with certification. Next, screens to negotiate and exhibitors’ bilateral agreements are allowed to show in cinemas (Finney 2014). Further, marketing campaigns have been aiming to create a buzz of “want to see” among targeted audiences and then launches the film. Lastly, the run of Nexus’ films extends on any number of weeks subjected to demand. This can be augmented by additional marketing.

1. When reviewing peers, tell them three things they did well and three things they can improve.

While getting their films into cinemas, Nexus can cost a fortune. In this case distributors are never in making any loss. Hence they pen down a cross0collateralization clause indicating that they can offset theatrical losses against various profits from additional windows.

Secondly service deals are able to work. Here filmmakers hire specialists taking over distribution process as a fee (O’Boyle 2002). Moreover, preview screenings are set up for various cinema booking agents. Next specialists are booked. Publicity and advertising campaigns are been designed and launched and money gets returned to filmmakers which is lesser than the money sent.

The third suggestion is capitalizing expenses of film distribution. Nexus should remember that any marketing campaign is costly. As their deal calls for the split of profits after gaining expenses, they must assure that they have capped expenses or profits that can simply melt away.

1. Name two learning outcomes.
2. As developments in inexpensive production technology get coupled with access to marketplace, this indicates Nexus can make, do marketing and then sell their movie without any permission. They have been aware that their audience is their business, without whom they cannot gain profit. Further, they are liable to source their own audience.
3. Secondly sourcing their own audience and then executing their own marketing sales and distribution plans are smarter than making a movie or equipping own self with filmmaking tools.
4. Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.

Example: “As noted above, my first learning outcome is sourcing to the own audience. This learning outcome correlates to marketing sales and distribution plan. My second learning outcome is developments in inexpensive production. This learning outcomes correlates to perform marketing and then sell movie without any permission”

1. In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.

The two learning outcomes retrieved from the above discussion would help Nexus to come up with relevant concepts. They are also helpful to catalyse and drive every technical aspect undertaken by Nexus’ project.

References:

Carroll Harris, L., 2018. Film distribution as policy: current standards and alternatives. International Journal of Cultural Policy, 24(2), pp.236-255.

Ciciretti, R., Hasan, I. and Waisman, M., 2015. Distribution strategy and movie performance: an empirical note. Eurasian Economic Review, 5(1), pp.179-187.

Crisp, V. (2015). Film distribution in the digital age: Pirates and professionals. Springer.

Drake, P., Franklin, M.I., Sathe, D. and Tierney, S., 2015. We Are Colony: Digital VOD Distribution for Independent Film.

Eby, M. and Thomas, V., 2016. Haus piksa: The informal economy of film distribution in Papua New Guinea. Information Technologies and International Development, 12(4), pp.23-33.

Finney, A., 2014. The international film business: A market guide beyond Hollywood. Routledge.

Garden, H. and Awards, M. (2018). How Movie Marketing Works. [online] HowStuffWorks. Available at: https://entertainment.howstuffworks.com/movie-marketing2.htm [Accessed 27 Mar. 2018].

Gunter, B., 2018. Is Studio Size Important to Box Office Success?. In Predicting Movie Success at the Box Office (pp. 35-49). Palgrave Macmillan, Cham.

Harvard Business Review. (2018). What Is Disruptive Innovation?. [online] Available at: https://hbr.org/2015/12/what-is-disruptive-innovation [Accessed 27 Mar. 2018].

Koçer, S., 2015. Social business in online financing: Crowdfunding narratives of independent documentary producers in Turkey. new media & society, 17(2), pp.231-248.

Mueller, A. (2018). Why Movies Cost So Much To Make. [online] Investopedia. Available at: https://www.investopedia.com/financial-edge/0611/why-movies-cost-so-much-to-make.aspx [Accessed 27 Mar. 2018].

O’Boyle, E J 2002, ‘An ethical decision-making process for computing professionals’, Ethics and Information Technology, vol. 4, no. 4, pp. 267-277.

Romanowski, W.D., 2017. Risky business: Rock in film. Routledge.

Roux, E., 2017, January. THE IMPACT OF BRAND FAMILIARITY, BRANDING AND DISTRIBUTION STRATEGY ON LUXURY BRAND DILUTION. In The Customer is NOT Always Right? Marketing Orientations in a Dynamic Business World: Proceedings of the 2011 World Marketing Congress (p. 100). Springer.

Smits, R., 2016. Gatekeeping and networking arrangements: Dutch distributors in the film distribution business. Poetics, 58, pp.29-42.

Sutter, K., 2014. Distribution revolution: Conversations about the digital future of film and television. Univ of California Press.

Tilley, S & Rosenblatt, H 2017, Systems Analysis and Design, 11^th edition, Cengage Learning.

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