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fuente: http://www.elespectador.com/noticias/economia/el-buen-recaudo-de-ley-deespectaculos-articulo-528491
Perspectivas de crecimiento:
Segn Juan Camilo Silva, director financiero de T310 y Absent Papa, una de las
productoras de conciertos ms grandes del pas, la industria ha evolucionado
positivamente en cuanto a la asistencia y el desarrollo de los gneros, ya que
actualmente hay una oferta mucho ms variada de artistas. Hay un desarrollo
interesante del mercado, especialmente en los gneros alternativos que siempre
han sido ms pequeos en Colombia, donde los ms fuertes son otros como la
salsa y el reggaetn.
Segn datos de la compaa, el crecimiento en la venta de boletera del Festival
Estreo Picnic de 2012 a 2013 fue de 573% y de 2013 a 2014, de 69%.
Fuente:
http://www.dinero.com/empresas/articulo/productoras-conciertoscolombia/200840
Durante el 2013 se realizaron en Bogot 196 espectculos pblicos de las artes
escnica. Adems Bogot se prepara para fortalecer la infraestructura de los
espacios para el crecimiento del sector.
En el ao 2015, 11 escenarios culturales de carcter privado y mixto que recibirn
un total de $3,382 millones de pesos.
NOMBRE DEL ESCENARIO
MONTO
ASIGNADO
TEATRO R 101
$589.434.535
CASA TEATROVA
$399.331.484
FACTORA L'EXPLOSE
$174.575.800
CASA E
$399.571.792
ARLEQUN
$332.544.324
TEATRO LA CANDELARIA
$244.910.911
LA VENTANA
$199.942.023
$365.394.853
$399.035.462
10
TEATRO BARAJAS
$79.380.500
11
$198.081.328
VALOR
TOTAL
$3.382.203.012
Fuente:
http://www.culturarecreacionydeporte.gov.co/ley-del-espectaculopublico/bogota-se-fortalece-como-ciudad-de-espectaculos
Concentracin geogrfica:
Bogot, Medelln, Barranquilla, Cali y Cartagena son las ciudades que, en su
orden, han acaparado la mayora de eventos durante los ltimos dos aos. La
importancia del fortalecimiento de este sector en la economa colombiana es que,
por ejemplo, en 2012 la cultura aport el 1,8% del PIB nacional.
Album (sencillo)
Descripcin musical:
Propuesta musical fresca abierta con elementos de sonidos diversos que
permitan evaluar las preferencias de los consumidores en un primer
lanzamiento.
Precios:
Explotacin de imagen:
El esquema de precios para campaas de son acordados entre ambas partes en
una negociacin variable teniendo en cuenta los siguientes criterios:
Ocasin
Tiempo de la campaa,
Album:
En la industria musical la monetizacin de las piezas musical la comprenden 2
modelos:
Venta directa: A travs de descargas directas en sitios web. Con precios fijados de
acuerdo al Mercado global desde 0.50 y 0.99$
Regalas: A travs de servicios de medios digitales como itunes y de streaming
(Youtube,VEVO, Spotify)
Shows:
El esquema de precios para cada show esta basado en los siguientes criterios:
1) Lugar
2) Formato de banda
3) Duracin (No. de sets)
4) Requerimientos tcnicos especiales
5) Fecha
6) Capacidad
7) Tipo de contrato: Directo o indirecto
Y se establecen los siguientes supuestos:
Costos directos
Porcentaje de utilidad
Promocin:
Marca: La imagen de Oscar Bobadilla debe perfilarse hacia el area del romance y
es necesario crear un video demo de una interpretacin para presentar como
propuesta comercial al area de mercadeo de empresas. Debe crearse una seccin
en el sitio web del artista en donde se describa la disponibilidad para servicios de
imagen de algun producto, servicio u organizacin. La promocin de este servicio
es transversal a los dems productos.
Shows artsticos:
Existen 2 modalidades para la promocin de shows artsticos
1) Directo: El artista logra un acuerdo con el contratante (Teatro, Recinto o
Sala de eventos.
Esta modalidad supone ignorar las comisiones de venta, sin embargo esta limitada
a shows de menores cuantas.
2) Indirecto: Por medio de una productora de eventos musicales
Esta modalidad supone un mayor alcance y shows de gran envergadura,
por lo general se estudia un modelo contractual de representacin que
oscila entre un 10 y un 15%.
CARGO
President
Rodeblm Delgado
Management
Jhon Seplveda
Presidente
Jazmin Posada
Edgar Baldiri
Rafael Araugo
Gerente
Gerente G
President
EMPRESA
Bravo Show
RB.ProduccionesRodeblm
(Valle y San Andrs Islas)
SBS
Corporacin
(Residente en USA)
Sky Line
Icaro Booking Services (Miami)
ALS Eventos
PAG.WEB
bravoshow.com
rodeblamproducciones.com
sbscorporate.com
showcard.com
alseventos.com
Alfredo Villaveces
ngel Thorrens
Omar Vega
Juan Pablo Ospina
Camila Saravia Arias
President
President
President
President
CEO
www.evenpro.com
http://emetres.co/
Sencillos:
Album:
La implementacin de acciones mediante medios digitales representa la manera
mas eficiente en cuanto a alcance-costo para llevar a cabo su promocin.
Canales de Streaming:
Los medios digitales publican y difunden las piezas contra comisin del 10 al 15%.
Sobre ingresos por regalia.
Estos medios digitales son conocidos como Agregadores. Ellos incluyen todo el
contenido del artista en los distintos canales de difusin como:
Itunes
Youtube
Spotify
Rdio
Rhapsody
Deezer
Grooveshark
Amazon
Google Play
Iheartradio
Emusic
Xbox music
MuveMusic
Sony
Nokia Music
JB HIFI
VIVO
RADIO UOL
Estos canales se encargan de ofrecer el contenido musical y venderlo. Cada
contenido tiene un cdigo que permite rastrear cada actividad del contenido para
finalmente reclamar las regalias a nombre del artista.
Estrategia de Mercadeo Online:
Estrategia Integral en todas las reas de Msica Digital y Social Media
Esta estratgia asegura el xito en todos los aspectos del ciclo de lanzamiento del
lbum, desde preventas y sencillos hasta lanzamiento de videos ofertas exclusivas
etc.
Generacin de contenido para redes sociales: La planificacin de publicaciones
para mantener una comunidad de usuarios active.
Creacin de Perfiles verificados en servicios de streaming
Hoy en da, los servicios de streaming de msica como Deezer, Rdio, Spotify,
Google Play y otros - as como YouTube -son de hecho perfiles de redes sociales y
es necesario tener presencia y actividad para generar ruido.
Email Marketing
El correo electrnico es todava una de las herramientas de marketing ms
importantes disponibles. Es necesario realizar campaas de correo electrnico de
calidad profesional con bases de datos segmentadas.
Widgets de musica y tienda en linea en redes sociales
Los reproductores de msica mviles sirven para distribuir el contenido musical en
cualquier sitio de la web, adems la habilitacin de una tienda en lnea en
facebook garantizar cercana a los usuarios y accesibilidad para compra.
Campaa de publicidad en redes sociales
Usando la plataforma de anuncios de (facebook, twitter y google) llegaremos a
ms fans que seran parte de la base de usuarios con los que se podr interactuar.
Relaciones pblicas y freepress
4. Method of Sales/Distribution This is related to your marketing mix and details the methods you will employ in
implementing the various parts of your mix. For a musician, one method might be
the use of a booking agent. Another might be a record distributor or, perhaps, mail
order.
5. Customer Service Policy :
When considering customer service it is always useful to ask yourself why you
continue to frequent certain businesses. More than price more than product quality,
you will often return again and again to these businesses because you feel taken
care of. The people of those businesses go the all important extra mile to make
you feel special. They anticipate your needs and provide for them in the various
ways they deal with you.
See if you can translate elements of this customer service policy into your own.
Write down your philosophy and then list all applications you can imagine related to
your business. How can you go the extra mile with your clients? Find ways of
distinguishing yourself from your competitors in this area and you will insure a
faithful clientele for years to come.
IV. Operations This has to do with the overall physical and logistical manufacturing of your product
or service. It typically has three parts to it:
A. Facilities and Equipment
will encompass such things as your rehearsal space, office space, studio,
manufacturers you use, your instruments, sound and light equipment and vehicles
you use to haul it all around. A brief note on equipment insurance should also be
included here. Investors like to see the founders of a company have a cash
investment in the buisness in addition to "sweat equity".
B. Plans for Growth or Expansion Here is where you project your more general goals three to five years into the
future, What will you need when you progress from local to regional success?
Regional to national? National to international? Perhaps you'll want to develop sub
companies within your primary company. Maybe a publishing wing, or a video
branch, or perhaps a recording studio. Think it through as clearly and completely
as possible.
C. Risks This is another very important part of the plan. Not only does it show you're being
open and honest with your financing source, but it forces you to consider and
assess alternative strategies in the event your original assumptions do not
materialize.
V. Project Time Line Here you want to articulate the schedule for your goal achievement, both shortrange (e.g., obtaining radio airplay, booking high-profile gigs, procuring
management, etc.) and long-range (e.g., signing a recording contract, having your
song performed by a mega-star, etc.). Think through the essential steps needed for
the attainment of each goal.
VI. Financial Information -
No matter how wonderful your plan is it isn't going anywhere without capital
investment, whether it's yours or someone elses. This final section of your plan
should be broken down into three sub-sections:. The financing required, current
financial statements, and a three-year financial forecast. Needless to say, this is
the part of the plan potential investors and lenders will concentrate on the most. So
the following is written primarily with seeking investors in mind.
A. Financing Required While your first thought may be to ask for cash exclusively, there may be other
resources that would help you even more. Perhaps what you really need is some
people power assistance, or a touring van, or a new computer. These can
sometimes be provided more easily than cash.
Whatever you decide you need, make sure it's based on a hard-headed and
realistic assessment of the true costs of achieving your goals. A basic rule of thumb
in estimating costs is to add 15% onto whatever figure you come up with. This
covers all those additional "hidden" and unexpected expenses which inevitably
accrue.
B. Current Financial Projection:
Financial projections are a key part of a businessplan. They provide the reader with
an idea of where you think the business is going. Perhaps more importantly, they
tell a lot about your instrinsic good sense an d understanding of the difficulties your
company faces.
Often, financial projections are optimistic to an outlandish extent. They are usually
prefaced with words like, "Our conservative forecast is..." Do not use the word
conservative" when describing your forecast. Be careful also not to use the
"hockey stick" approach to forecasting, that is, little growth in sales and earnings
for the first couple of years followed by a sudden rapid upward surge in sales and
totally unrealistic profit margins. Excessively optmistic projections ruin your
credibility as a responsible business person.
Include monthly cash flow projections, and quarterly or annual order projections
(e.g. for studio time, CO manufacturing, etc.) profit and loss projections, and capital
expenditure projections (see your accountant for explanations of the above terms).
In making financial projections it is usually a good idea to include 'best guess,"
'high side," and 'low side" numbers. Sensible investors want to know what returns
they can expect and especially how they will achieve liquidity. Tell them. Again,
include alternative strategies.
Don't worry if you feel a bit overwhelmed by the avalanche of detail your business
plan requires. Who wouldn't? Give yourself time. It's helpful to set yourself a goal
for completing the first draft of your plan - say three months from now.
Begin with one section at a time and meet periodically with your small business
advisor to review your plan's development. He or she will be able to discern blind
spots as well as affirm the plan's overall direction. If you're thinking of foregoing the
effort altogether and just "winging" it, just remember that no planning inevitably
leads to wasted time, money and energy - all three in short supply.
Remember too that the musicians you currently respect rose to their success with
strategic planning and a keen sense of what "doing business" really means.
Furthermore, today we are seeing the smarter bands being brought home because
they know the inner workings of the music business and how to best organize their
limited resources in order to penetrate it. How about you? Are you planning for
success?
by Peter Spellman