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I met a young man at a relaxed website re-launch recently who told me about his indie production studio/channel. Distributing mainly through YouTube, and relying so far on word of mouth and pure creative impetus to guide their slate, House of Alt is one of many (no disrespect) young studios redefining what it means to be 'in production'. Indeed, over the next few 405 Film features we'll investigate further, taking a look at director Matt Porter's many ventures, why Larry Clark dodged the distributors with new film Marfa Girl, and the implications of brands stepping up their game in sponsoring talented filmmakers.

It's got no bearing on the output of course, but criticism of this new breed needs a new nomenclature - due not just to the renewed creativity of the creative class but the ease with which it can be disseminated, funded, and curated. It's a short-form renaissance.

Any 'art' inherently owes much of its expression to technology, and in the past five years especially we've seen the widespread democratisation of music (due to affordable synths and home recording equipment/software) and games (thanks to Kickstarter, initiatives like Humble Indie Bundle, platforms like Steam etc). However, whereas games will always (probably…) necessitate some understanding of code, and music (arguably…) will always require some level of theory and or programming prowess. When it comes to 'film', the advent of streamlined distribution platform, the increasing simplicity of Final Cut, and easier-than-ever to use, and afford cameras (the proliferation of the Canon 5D Mark II for example) has meant the 21st century zeitgeist has probably impacted more on film and video than its cultural cousins.

Despite the new tools and ravenous public apetite for creative film, you can't eat 'Likes' or pay the rent with the Vimeo 'Staff Favourite' badge. Although the rise of mainstream music from the 60s onwards taught the world that money-men happy to sit back, count stubs and let the young, trendy musos get on with it, it's never been quite so simple with film financing.

Cut to somewhere in 2011 and enter brands, 'content marketing', established studios banking on 'cult' online support of a director of animated pilot, and the wildly variegated success of crowd-funded projects. Quite simply, it's a power-shift. So instead of a team of financiers trying to hammer a square concept into the round box-office hole, savvy consumer brands such as Red Bull and luxury group LVMH (Louis Vuitton Moet Hennesy) are funding influencers and young directors, and the general public are putting their money where their collective mouth it.

Money and creativity make strange bed-fellows, but this is a spooning arrangement borne out of necessity, huddled together for shared bodily warmth on a cold winter's night - and body heat is transferred more effecfively skin-to-skin. The integrity of a starving artist will always be a romantic ideal but it's not diminished by the support of big business, thousands of public backers or a steady day-job - in many cases these new arrangements actually make sheer video-based creativity increasingly sustainable.

Will there reach a saturation point? Increasingly branded, soulless rehashing of 'artisanal' film-making and Kickstarter fatigue? Probably. Of course, at that time, sub-cultures and creatives will find new ways to subvert the model, refresh our idea of creativity and force the mainstream to adopt evolved nomenclature once again. My (meagre) money is on real-time films being edited live by teams of Google-Glass wearing hipsters, guerilla-screened by hacking digital bill-boards and watched by hoards of rapturous commuters.

Don't quote me on that.