November 2012

Created By Lucas JB Rayala lucasrayala@gmail.com www.linkedin.com/in/lucasrayala 651-269-685

Whats Altsie? Altsie was a new way to go to the movies. Altsie partnered with hip neighborhood businesses across the country to create alternative screening venues and bring customers a new, exciting theater experience. Using some web 2.0 magic, businesses could, in minutes, set up a profile and schedule show times through our site. Altsie's vision was to disrupt the old Hollywood theater model; with the help of overnight shipping, we had the ability to create a hundred micro theaters overnight. It just didnt work out that way. Incorporated as a Minnesota LLC, Altsie showed films from April to November of 2012. During that time, Altsie partnered with seven businesses across three states and has had thirty screenings of seven awardwinning films. Altsie made money through online ticket sales. We closed in November of 2012 for various reasons, including a need to reinvent the original idea, a lack of funds to do so, and other personal reasons. This paper describes some market observations we made during our short existence, some of the problems we ran into, and potential areas we think other startups might be interested in exploring. This paper is written from our limited perspective, but we believe that a perspective from someone with their boots on the ground is pretty valuable.

The Universe of Theater Ticket Sales and the Cost of a Theater The MPAA Annual Report states that in the US/Canadian market, theater admissions were 1.3 billion in 2011, totaling $10.2B in sales ($32.6B worldwide sales). Attendance has fallen steadily over the last decade, down from 1.6 billion admissions in 2002, while sales have remained relatively stagnant due to increased ticket costs. 1 We wanted to position Altsie as a nationwide alternative to traditional big-box theaters, and we believed we had a significant cost advantage. To put things in perspective, an owner today will spend $2M to build and equip a standard movie theater2. For $2M, a business like Altsie could install HD projectors, screens, and speaker equipment in one thousand businesses across the country. That would instantly make that business, by location, the largest theater system in the United States, surpassing Regal and AMC combined.3 Theres a lot of power in small. Competitors Altsie was the first company to partner with small businesses to create ticketed screenings on any scale. We were excited to be the first to explore this space. Other companies license films for non-theatrical venues, but securing the rights to show a movie through these companies is a byzantine and expensive process. Swank and The Criterion Collection are the two main competitors in this arena. Neither site caters to small businesses. Both are built for larger organizations like cruise lines, colleges, and prisons. These larger clients are allowed to screen movies concurrent with a films normal theatrical release; however, neither Swank nor Criterion will license a film to a small business until after it has been released to DVD. Small businesses we spoke to did not like to work with either Swank or Criterion. Theyre too expensive, starting at $175 to license a movie for a single showing. This makes it difficult for businesses to break even on an event. Small businesses have limited time and resources to procure filmsAltsie knew this and made procurement easy, licensing straightforward, and event-creation a snap. Altsie Audience Demographics The majority of Altsies customers were between 20 and 40 years of age. Anecdotally, they almost all attended our events as a date night, and the majority of tickets were purchased by women. Customers generally bought meals and drinks at our showingsthis is in line with industry studies, which show that 43% of moviegoers go to a sit-down or fast food restaurant immediately before or after their movie.4
1 2

MPAA Annual Report, Theatrical Market Statistics, 2011, http://bit.ly/HH1VzH Reed Construction Data, Movie Theater: Construction Cost Estimating, http://bit.ly/P7E68B 3 As of this writing, Regal and AMC are the two largest theater systems in the US, with 548 and 378 locations, respectively. http://bit.ly/dFuOQP 4 The Arbitron Cinema Advertising Study: Appointment Viewing by Young, Affluent, Captive Audiences, 2003, http://bit.ly/NGo3gO

This was a big sell to businesses who wished to partner with Altsie, and locations that paired specials with their showings were effective at pushing food sales. Our first show had 35 guests and created the highest Sunday-night sales in memory for The Nicollets owner, Jeremy Konecny, whose caf did record pizza sales because of the special he offered with his tickets. While Altsie used group buying to get the word out about our service, for our business customers, Altsie wanted to position itself as an alternative to services like Groupon or LivingSocial. What market trends made us believe Altsie would succeed? Decreasing Number of Theaters The high cost of showing a movie in a traditional venue has led to fewer, larger theaters as owners consolidate costs. The number of indoor movie theaters has gone from 7,151 in 1995 to 5,561 in 2009, a 22% decrease5. The decrease in locations means, necessarily, that theaters are moving farther away from customers. You can quote any number of theories as to why attendance has decreased, but increased travel-time will limit physical attendance. However, because of the unchallenged position this model has in the live-screening market, theaters have been allowed to continue this unhealthy pattern. And this trend isnt stabilizing, its accelerating. At a minimum of $65K per projector, the conversion to digital will be the final straw for many small theaters. Convert or die, is a maxim repeated by John Fithian, CEO and president of the National Association of Theater Owners (NATO), the largest exhibition trade organization in the world. Hes right, for the traditional market. Large distributors will soon discontinue using film as a mediumFox Pictures intends to do so in the next two years. NATO estimates that 1,000 venues will go under as other distributors follow suit, eliminating another 20% of our nations theaters. 6 This trend is sad, but the gaps left by the retreating theaters leave room for a new business model. Altsie wanted to be a model that brought movies back into neighborhoods, at a reasonable price and cost structure. Theres another growing trend we tried to take advantage of to do this. Increasing Number of Films There are over 10,000 films created in North America every year. The Sundance Film Festival reports 12,000 submissions (both national and international) to their contest annually. Of that, they screen 200.7 In 2009, only 3 films that participated in our nations flagship festival were offered theatrical release, as reported in a roundtable discussion by industry experts in McSweeney's San Francisco Panorama. 8 The discussion participants went on to talk about the need for a new method of distribution for this growing market. As the costs to create a film decrease, they note, directors do not need to rely as heavily on production companies. The sheer number of films now available made it relatively easy for Altsie to find quality work for our audiences.

5 6

National Association of Theater Owners website, http://bit.ly/5lxs5 Hurley, Michael, We're About to Lose 1,000 Small Theaters That Can't Convert to Digital. Does It Matter?, IndieWire, Feb. 23, 2012, http://bit.ly/AzLtuB 7 Sundance Film Festival Website, Film and Events page, http://bit.ly/gckpzb 8 McSweeneys San Francisco Panorama, Jan. 1, 2010, http://bit.ly/ntA8sT

Decreasing Projection Costs and Changing Markets While professional equipment has gone up in price, home theater equipment has decreased in price and increased in quality. Six years ago, a high definition 1080P projector cost over $10K. Today, higher quality units are around $900. The rapidly decreasing cost presents an inevitable problem for the film industry. Its a problem the record industry was caught famously unprepared for with the rise of MP3s technology has created a new method for distribution, and unless a business model exists to harness this new technology, illegal screenings will become more common. Altsie, of course, hoped to head off that trend and meet the market need. Increased Online Buying and Going Local Concepts which would not have been possible ten years ago have become realities because of a recent critical mass of internet users and the expansion of mobile. Local is the new buzzword for internet businesses. Customers are excited to use the internet to discover new adventures in their cities, as exemplified by the rapid adoption of services such as Groupon, FourSquare, Yelp, and more. Groupons 2011 Letter to Shareholders states that they have 33 million active users worldwide who purchased 170 million deals last year.9 Going local works, and there is a large market for online and social purchasing that Altsie tried to tap into. To do this, Altsie used its website as a tool to automatically organize businesses and show times, creating a flexible framework for event creation that made it easy for consumers to get local, find relevant information, and minimizes the number of clicks necessary to purchase a ticket. Rural and Underserved Markets Finally, not every city has an independent theater, and rural markets are underserved with respect to movie theaters in general and independent films in particular. This opens up several opportunities. Certain geographies cannot support traditional movie theaters. Altsie wanted to bring a theater experience to smaller geographies by partnering with pre-existing businesses. There is less competition with other entertainment options in these regions. Altsie saw rural communities as a major expansion point for our business and believed this had the potential to be our largest market. Theres a second market consideration with regard to rural communities. Altsie spoke with distribution companies interested in expanding their footprint beyond the indie theaters theyre currently restricted too. They do not, of course, want to cannibalize or otherwise compete with established markets, but they see value in a separate market offering outside the urban areas. We believe this is a still an area of growth.

Groupon 2011 shareholder letter, http://bit.ly/KoqnIL

This section outlines some things we learned in the process of running Altsie. Some of this information is very operational, some of it is observational, and some is more speculative; meaning, we try to answer what could we have done differently, and what other opportunities exist in this market? Risk and Indie Films - Observations Independent is a label that may have had some historic significance but has largely become meaningless when describing film. A $20M film put out by a major distributor can claim the title of independent and court the film festivals, and sit alongside a film that was made for a few thousand dollars and a lot of volunteer effort. While this report uses the terms independent and indie when describing films, we believe its best to look at films in terms of the relative risk a filmmaker or production company assumes by partnering with a given organization (such as Altsie). Several factors come into play when rating this risk, including: Quality of the film Marketability of the film Prior distribution history Cost of production

These and other variables relate in a complex algorithm to describe risk, but it is helpful and often reliable to concentrate on the last item, cost. Simply put: as the cost to create a film increases, so does the risk a filmmaker assumes. You need to be cognizant of the risk/reward ratio when approaching a filmmaker. Does your startup offer enough reward to offset the risk? While it wasnt a major stumbling block, we naively assumed filmmakers would see Altsie as a no-risk proposition. While Altsie was, in many ways, very low-risk, there were issues to take into account, including: Pirating: the possibility of Altsie losing control of a film, such that the film got out on the internet and harmed future distribution options for that film o Our solution: we generally showed films the month prior to their DVD release Premier Status: a films debut is a valuable commodity, whether its a national premier or city premier; a savvy filmmaker will market a premier to their advantage, and you may find yourself competing with a film festival in a given city Material Commitments: a DVD or BluRay disk costs no more than a few bucks, but to the filmmaker, a DVD is a limited resources that must be used wisely; theyre likely broke already, so its not nothing to them Resource Commitment: to a distribution company, human resources are expensiveagain, it may seem like nothing to ship a DVD, but one company explained that theyd calculated their cost as $500 for all the paperwork and filing involved in getting that DVD to our door and eventually funneling payment back to the filmmaker

High Level Overview of an Indie Films Distribution Lifecycle Indie films generally start their lives in film festivals. This is the proving ground for their work. Most films do not make it beyond the festivals, or they are eventually released for free on a VOD platform. Of those films that eventually rise to the top of the festival circuit, a very few will be released theatrically. Most films will receive only a very limited theatrical release in a small market, for one or two weeks. Whether or not they get a theatrical release, an indie film may get a DVD distribution deal. There are all levels of distributors working this market. Some distributors are trying to get started by distributing lower-quality no- and low-budget films; some are established and have large libraries of high-quality films. Distributors will often specialize in a genre, like horror, sci-fi, or foreign films.

Again, Altsie found a place for itself directly ahead of the DVD/VOD distributionwe sold ourselves as a promotional boost prior to that release. Finding Films Value Proposition When approaching a filmmaker or distribution company, its important to have a well-thought-out value proposition to show them. This will likely include a mix of the following: Money Exposure Advertisement

Altsies value proposition (our pitch) to our filmmakers was as follows: a percentage of ticket sales full-sized posters in our partner businesses for a month our businesses advertised show times via their internal marketing tools, which reached thousands of customers through email and print ads paid for by the businesses to promote their events restaurant partners put color postcard-sized fliers in all their bill-holders to advertise to their patrons for the entire month limited flier distribution to public bulletin boards a couple hundred influential members of our arts community reviewed and talked about the film Altise promoted DVD sales via our email list and social media tools

We started small, working with filmmakers who were just looking to get their films screened (i.e. low- or no-budget films). We quickly built a track record and worked our way up the ladder to films represented by distribution companies. Securing Films Call For Films We had no success doing a public call for films. We used Without A Box (www.withoutabox.com), which is a very badly designed, very expensive service, designed mostly for film festivals. It is owned by Amazon, and its just about the only site where you can do a call for films.10 We received almost no films using this service. It costs over $700 to post a call for filmthis seems like a complete waste of money for newcomers. In order to get any volume, you likely need to be established for several years and have your own built-in audience of filmmakers; at that point youre mostly using WAB for their really crappy web interface11. Film Festivals Film festivals are a great place to look for films; the work is already screened and approved by someone. We would have liked to go to more festivals, but we were able to cover a lot of ground quickly with web research. There are hundreds of film festivals across the countrywe went to their websites and reviewed all the films listed in the last two years. We watched previews and read reviews, and used IMDB Pro to get background information regarding distributors, etc. For small films, we often got the filmmakers contact information on the films website. When contacting filmmakers, email worked, but calling was better. After introducing ourselves and stating our value proposition, we asked to get a look at the film. Filmmakers either shipped a DVD screener or give us access to an online copy hosted on Vimeo or similar service (password protected). Indie Distributors We started to build relationships with smaller distribution companies during our last few months. We had no success with distributors until we had established venues to show the films and a successful track record of screenings. We found distributors were risk averse. Conversely, they were always on the lookout for a new model to show films, but they didnt want to waste their limited resources running down blind alleys. Big Budget Films Regarding big budget films: we received a lot of queries from startups who want to try a similar concept as Altsie with blockbuster films. Unless you can find a Netflix-like loophole in the laws that allows your company to sidestep the distribution companies and studios entirely (and you will get sued, but good
10

Sidenote: Amazon owns Without A Box, IMDB, and Box Office Mojo. It seems to be laying groundwork in the indie film market in case the market takes off. 11 While they likely have a lock on a pay model because of the volume of filmmakers and film festivals in their databases, someone should attempt to disrupt this business model and provide a better service. Again, WAB is complete crap.

luck with that), its not very plausible that youll have an opportunity to show Iron Man 5 before its released to DVD (see the section on Sidecar Franchise, however, for an interesting business model that could possibly expand the small theater market through a partnership with an AMC/Regal-like company). After big-budget films are released to DVD, you can license them for public exhibition12. As previously noted, these second-run blockbusters are almost entirely distributed through Swank (www.swank.com) which charges a minimum of $175 per night per venue to show a film (with an additional cut for ticket sales). Bottom line: big-budget films have an established distribution model. Many believe this model is broken and harmful to the industry, but in our opinion the best way to disrupt the live-theater market is by harnessing the growing indie film market and riding that wave. If you get big enough, the larger studios will eventually pay attention to you. Equipment and Physical Setup of Businesses These are some factors to consider if youre trying to build a model similar to Altsie: i.e. showing films in a business, using HD projectors and DVD/BluRay disks as a medium to screen your film. Physical Layout of Business, Type of Business The businesss physical layout was important both for film exhibition and for the sales of goods during a screening. Our best setup was a pub with a large screen on a raised stage (used for bands on other nights)the customers were all looking up at the screen, so servers were able to get to their tables without greatly-interrupting the flow of the film, thereby selling food and beverages throughout the evening Other businesses had layouts which made it difficult for servers to get to customersfood and beverage sales were much lower on these nights

The ideal setup is a side room normally reserved for special events. Businesses can assign appropriate staff based on ticket presales, and it freed the rest of their location for normal business. Less ideal; businesses would sometimes open only for Altsie, or reserve their main floor for an event. This put a lot of pressure on Altsie to fill the main floor, which we were sometimes not able to do. From a standpoint of food and beverage sales, Altsie was more of an asset to establishments that served dinners, as compared to establishments that only served drinks. People dont really drink during moviesthey tend to sip a single beerbut a dinner is a big ticket item. In the future, we were thinking of testing intermissions to spur food and drink sales. Medium We showed movies using both BluRay and DVD, and nobody commented one way or the other on the picture quality. DVDs are cheaper and play on more devices. Suggestion: use DVDs (or at least send a DVD as a backup).

12

These rules are all different for colleges and universities; check with www.swank.com for details.

Some people asked us why we werent streaming video. The answer was self-evident to us, but in case youre wondering: streams often pause and stop. DVD players are a cheap, reliable technology. Send backup copies of your DVD to each locationits not worth $1 to skimp on this. Projectors You can get pretty geeky with regard to projection technology. Check out one of the home theater forums (http://www.hometheaterforum.com/f/) for info on this rapidly changing market; anything we write here will be obsolete in three months. From a practical point of view, customers werent that concerned with image quality. They came to hang out with friends and have a beer, and if they could see the image, they were happy. We showed on larger 20 screens and smaller 7 screensif it fit the room, people were happy. One other practical note: indie films often look worse when blown up on a big screen, as compared to your laptop or TV. We learned that one the hard way. Screen your movie on the big screen before you commit to it. Sound Sound is the most important and most vexing issue for public film exhibitions. Your screen can be rotten and people wont complain, as long as they can make out the images. However, if your sound doesnt come through clearly, your customers will be very unhappy. From an exhibition standpoint, this is a big reason to set up in a side-room of a business. Many businesses have event spaces, and serendipitously these spaces are often set up to show films for weddings, birthdays, etc. Raucous bars are very hard to show films in, although in the Twin Cities there is an organization that shows films with a lot of music (Sound Unseen, http://soundunseen.com/) to counter this issue. If youre going to try a public area, be prepared to really turn the volume up. We spent the summer battling the sound issue at one pub, hoping we could come up with a replicable solution. The pubs layout was perfect for viewing films; the main floor where the filmgoers were seated was visually separated from the bar, so we thought we could show the films and the business could keep the bar open at the same time. Despite jacking the volume up, however, noise from the bar sometimes made it difficult to hear the film. Getting inventive, we purchased an FM transmitter13 and hooked it up to the sound output on the bars DVD player. The sound still played on the buildings speakers, but we also placed radios at the tables, and gave headphones to individuals who had trouble hearing. Sort of like a drive-in theater. Clever, right? It worked when we set it up, but something went wrong with the FM transmitter during the movie and it cut out soon after the opening credits started rolling. Regardless, the theory still held, it just needed fine-tuning. Instead of continuing down this course, however, we just swapped to a calmer Tuesday night.14

13

The Whole House FM transmitter is the only FCC part 15 compliant transmitter we found on the market that had a strong enough signal to make this work. And well be honest, we used the supplied antennae to extend the range of the device, which almost certainly boosted the signal past a legal threshold. 14 We spent a few weeks thinking about other business models where a bar played a movie, with the sound projected from an FM source (or some other RF source like WiFi), and the user either rented a headset or downloaded an app that allowed them access to the sound stream for a fee. We liked this because it would allow a

Sound is hard, and will likely be your biggest challenge. Test Your Equipment Again, this may seem self-explanatory, but test you equipment and movie before every show. Make sure you have your sound balanced and your image clear before you start. Its likely something will go wrong, even if things look good. Test everything beforehand! Mobile Experience We didnt have a mobile app or mobile website. This would have helped, but in our early stage it probably wasnt a make-or-break issue. Geographic Markets While we never experienced expansive growth, we were always looking ahead, and through conversations with distributors we developed an understanding of some issues and opportunities inherent in the current geographic distribution of theaters. This understanding revolved around the question: is there already a theater in town, and does the theater primarily show mainstream movies or independent films? You can split the market into three categories: big cities, small cities, and rural areas. In general, a big city will have both mainstream and indie theaters, a small city will have only mainstream theaters, and a rural area may have neither. Big City mainstream and indie theaters Small City mainstream theaters Rural no theaters or limited access to mainstream theaters

If you want to show films in a big city which contains a mainstream and an indie movie theater, your film options will be limited. Film distributors who already have deals with these venues probably wont work with you because they would compete with their established theaters. That leaves: Movies released only to DVD/VOD (or movies with limited theatrical releases outside your market) Movies without distribution (generally low- and no-budget films)

The upside: there are plenty of great movies in the DVD/VOD categorythis doesnt mean theyll be easy to get your hands on, but they exist. Small cities and rural areas represent interesting growth markets. Indie distributors, especially, do not have much if any footprint in these geographies. We were able to generate some interest with larger independent film distributors when we talked about showing films in these markets.

more-passive income, with all the money made over the net, but there were a lot of moving parts and cultural impediments (movies=social, headphonessocial), so we let it die.

We hypothesized that larger studios might be interested in a smaller franchise model that gave them access to small towns and rural locations; however, more work must be done to explore this theory. Marketing We used various marketing techniques to promote Altsie: LivingSocial Printed flyers (color, usually 4x6) o In partnered businesses o Handed out during large events (parades, fares, etc) o Stuck in car windshields o In public posting areas Online event calendars Posters in our partnering businesses with times/dates printed on them E-newsletter mentions from friendly organizations such as IFP Our partnering businesses internal marketing mechanisms Altsies growing email list

The LivingSocial deals were the most effective at selling tickets and promoting events. The partnering businesses internal marketing was the second-most effective (by a factor of ~10). We saw about 10% of our customers return each month. This was greatly affected by users who had purchased multiple LivingSocial tickets, but we believe our internal marketing was at least partially responsible for bringing users back. Going forward, we believe Altsies email list would have been its greatest asset. A Note on Film Genres People dont come to bars to cry. Sure, it happens, but its generally better to keep people laughing. While the objective of an indie distributor may be altruistic--to push the edgiest films out to the public-from a business sense, your best bets are (in this order): comedies, chick flicks, action films, dramas. Thats not to say you shouldnt mix it up, but be careful when pushing the envelop; we showed one particularly rough drama and I doubt any of those audience members came back. Bad comedies did much better. Business Model Problems and Alternatives Altsie wasnt an explosive success, but it also wasnt a complete failure. People came to bars and restaurants and they watched movies. What we didnt have was scale, and scaling our model would have been tough. Ticket sales were obviously the most difficult part. In the Twin Cities, Altsie staff went to the physical locations and took the tickets at the door. Thats not scalable. We originally thought we could entice businesses into assuming some of these duties by splitting ticket sales with them, but as you can imagine, you have to get a huge crowd to make that worthwhile. Ultimately, businesses make their money selling food and drink, and you need to attract crowds without tying up their staff and diverting them from their main business. Altsie may well have made a strategic mistake by trying to make money off ticket sales.

Ticket Kiosks That said, if we were going to keep the original business model mostly intact, ticket kiosks would have been helpful. Businesses requested this option. Kiosks are about $1,200 a unit (other options like iPads exist). Thats a big expense, and each location would need to do a large volume of tickets sales to justify the cost. That said, kiosks would allow customers to view previews at any time and might increase sales. Geeks Who Drink Geeks Who Drink (www.geekswhodrink.com) has a great business model that might work for a startup that wants to showcase indie films. GWD organize trivia nights at bars. Bars pay a fee to work with GWD, and GWD pays regional quizmasters to DJ their events. A very similar model might work for indie films. Likely elements include: a DJ who is passionate about indie films fun facts about the specific movie and the indie film industry in general, given by the DJ prior to the film previews of upcoming films a discussion session afterwards moderated by the DJ intermission to encourage food and drink sales potential DVD and merchandise sales potential ad placement before the film and during intermission

Corporate responsibilities in this model: secure/distribute films hire DJs create talking points for DJs create website for show time listings and other communications sell concept to businesses

Using a model similar to GWD would allow organic audience growth over time without adversely impacting business. Embrace the strong culture surrounding indie films to build a loyal audience base we didnt do a good job at this. Incorporating a dynamic DJ or similar group moderator would facilitate this. This is a solid model for a slimmer bootstrapped startup. Sidecar Franchise Certain businesses, like McDonalds and other fast food chains, partner with gas stations and convenience stores to expand their business models to regions that cant support a full store. Sharing the infrastructure costs makes it possible to profit in these smaller geographies.

A better-funded startup could partner with small-town businesses and renovate back rooms to create branded micro-theaters. Such a business would use lower-cost equipment to make the ventures profitable. Low-cost micro theaters like this could fill in the geographic holes left by retreating big-box theaters, whether that is in rural areas, small cities, or urban neighborhoods. For indie films, this model could help expand the footprint of high-end distribution companies looking to expand their market. We also see the possibility for a beneficial partnership with larger theater chains such as AMC or Regal, where AMC/Regal would: invest in the startup for a percent ownership provide the films and/or industry contacts necessary to get film rights for larger films

A startup using this model could serve as a proving-ground to reverse the current contraction were seeing in theater locations, providing a new growth source for these industry leaders.

This report was written for startups. Altsie didnt succeed, but it would be a true waste to let our observations die. Cheap distribution has historically had a sea-change affect on markets and society. This was true of Gutenbergs press and Napsters file sharing. We believe the next five years will see a revolution in indie films, where cheap distribution (with some financial incentive) will allow filmmakers to be more daring and creative with their work. Detractors have said that movies and visual entertainment are moving to the home. Films, however, are a social experience, and there will always be a need for their public showcase. Theaters have gone through a variety of transitions over the years, from the Nickelodeon to the megaplex. Whenever a particular business model lost its momentum, another came in and remade the market. We believe that the current business model has reached its zenith. Only time will tell if were correct, but for those who agree, and are daring enough to try something different, this is the time to get in the market. This report was written by Lucas JB Rayala -- hed just like to say thanks for everyone who believed in Altsie and helped make an idea come alive, if even for just a moment. Thank You

Special thanks to: Joe Dolson Cofounder Kathryn Bergmann Cofounder (and lifelong companion) Sam Kovar Cofounder-at-Large

bit.ly/VZJ08j

Figure 1: City Selection

Figure 2: Front Page

Figure 3: Ticket Purchase

Figure 4: Ticket Confirmation

Figure 5: Ticket Purchase

Figure 6: Customer Ticket History

Figure 7: Business Signup

Figure 8: Business Dashboard

Figure 9: Business Dashboard - Specials Creation Page

Figure 10: Business Dashboard - Showtime Creation

Figure 11: Business Dashboard - Showtime Management