Last week, B-Side launched the feature documentary RIP: A Remix Manifesto as high quality, DRM-free download on a Pay What You Want model.

In RIP, which made its US debut at SXSW earlier this year, Web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, raising fundamental questions about the nature of creativity and commerce.  The documentary features mash-up artist Girl Talk, Creative Commons founder Lawrence Lessig, Brazil’s Minister of Culture Gilberto Gil, and BoingBoing.net founder Cory Doctorow.  A participatory media experiment from day one, Gaylor shared his raw footage online throughout production at opensourcecinema.org, incorporating sequences remixed by other filmmakers, animators, and students into his final product.

When tackling marketing and distribution for a film about free culture, it was clear to all of us at B-Side that our approach had to fit the subject matter. The core audience for RIP is made up of exactly the kind of fans other distributors fear most: tech-savvy, anti-DRM, Creative Commons-loving downloaders.  So rather than treat our audience like Hollywood does – as distrusted adversaries – we decided to embrace the principles of RIP.

Visitors to ripremix.com can name their own price – including free – and download RIP in any one of multiple formats. Current download formats include an iPod / iPhone compatible portable file, a DVD resolution Quicktime, and a standard ISO format DVD image – all free from copy protection of any kind.  Starting next week, HD versions will be made available, as will additional special features including unreleased performance footage of Girl Talk and extended interviews not included in the film.

This is the first time that the name-your-price model pioneered by the band Radiohead for the release of their album In Rainbows has been employed for a major feature film.  Along with the download program, we’ve introduced an Open Source Film Tour, where organizations, non-profits, and fans can sign up to host digital screenings of RIP without paying the screening fees typically demanded for public exhibition of other films.

We’re thrilled to be able to release RIP in a way that is so in tune with the spirit of the film. For that opportunity, I have to thank our 3 forward-looking partners: RIP production company EyeSteelFilm, the National Film Board of Canada, and RIP Home Video distributor The Disinformation Company. Without them, this groundbreaking release would never have been possible.

Here are 3 more ways to check out RIP:

Watch RIP in streaming chapters on the NFB’s web site at nfb.ca
Remix RIP yourself and contribute at opensourcecinema.org
Buy RIP on iTunes

Enjoy.

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After last month’s big announcement from Apple and EMI, Amazon becomes the latest major e-tailer to get a clue by announcing their upcoming DRM-free music store. According to CEO Jeff Bezos, “Our MP3-only strategy means all the music that customers buy on Amazon is always DRM-free and plays on any device.”

This is definitely a step in the right direction. Unfortunately, Amazon’s own Unbox movie download service does not play by the same rules. Regardless, it’s clear that the industry — or at least the music business — is slowly catching on.

b-side’s download service, which as I type launches in 6 days, 2 hours, 22 minutes, and 17 seconds, was conceived from the start as 100% DRM-free. As the launch draws closer, this seems as good a time as any to explain my thoughts on DRM, and why we have made this commitment.

1. DRM doesn’t prevent piracy. As long as a film is sold on DVD, it can be pirated by any 12 year-old. If someone really wants to put a film up on bittorrent, they’re going to do it. Selling a download without copy protection will not encourage otherwise law-abiding citizens to rush out to break the law.
2. Independent films are far less susceptible to piracy than mass-marketed Hollywood films. The same is true for independent music compared to major label acts. This is why you have companies like BMG shooting themselves in the foot trying to lock down their music, while independent artists like Wilco stream their entire albums online for free, and then go on to sell 500,000 records.
3. DRM punishes consumers. If I buy a movie from iTunes, I can only play it through a device or software designed by Apple. If later I go out and buy a Zune, I have to go back and re-buy all of my movies. Likewise, if I buy a movie from Amazon, Wal-Mart, or any other download service, I can’t play it on my iPod.

   Even more frustrating, if I buy a movie from almost any download service, the only way I can watch it on my TV is if my computer is connected, or if I buy an expensive new device.

   For most consumers, these restrictions are a non-starter. This lack of choice is the primary reason why downloads have not yet taken off like everyone knows they eventually will.

   By offering downloads without the restrictions of DRM, consumers can watch movies wherever they want to – on their iPod, on their laptop, on their TV, or on a friend’s TV.

4. The future of digital distribution is DRM-free distribution. The movie business is 3-5 years behind the music business in figuring this out. Apple is pushing hard, and even the majors are starting to catch on with EMI announcing it would sell all of its music DRM-free on iTunes.

For a compelling overview on the future of DRM, check out Steve Jobs’ Thoughts on Music. I say future, but of course one vision of the future will be here in 6 days, 2 hours, 7 minutes, and 32 seconds, 31 seconds, 30 seconds….

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