My wife and I got stuck in a terrible storm from Seattle to Tacoma, where we live, and in the boredom of our 10-hour “#snomg” commute I tweeted about everything that came to mind, with little filter. As a result, I flooded the stream on Twitter and gained some very minor celebrity (I mean, levels below even Kathy Griffin) during the event and a few days after.

This year, I had no plans to produce media around the impending storm, but then MCDM colleague Madeline Moy suggested in a Facebook thread that someone parody the “Sh*t Girls Say” meme with “Sh*t Seattle People Say When It Snows.” I found inspiration in it and got started. I filmed for a couple hours after work and dropped the first video that evening on YouTube, just to entertain my Facebook friends.

That first video took off. I thought it’d get 1,000 views at the most, but by the time I woke up the next morning I was well into five-figure views. I had plenty of shots left over, so I edited Part 2 and posted that, too. The two videos received many great comments in 48 hours, so I “replied” to them with Part 3 just earlier today, featuring many of the suggestions viewers provided.

So, how in the hell did this work out so well?

In digital media circles, we often talk about content and distribution models, but we rarely talk about newsworthiness — a more common discussion amongst PR flacks. Even great content — and I think I produced amateur content — needs a reason. To go viral, and I don’t think the “Sh*t Seattle People Say When It Snows” videos have hit that hockey stick growth quite yet, content needs more than a business reason or approval of an inner circle of friends. It has to appeal with reason and context for a broader audience to “get it.”

This year’s snow was my perfect storm, pun intended. I knew that a) people like to talk about the rare snow in Seattle, b) Seattlites have plenty of free time on snow days, and c) everyone likes a good laugh. Madeline’s request reminded me that there was a familiar and popular meme format to leverage.

It has been all Seattle snow jokes since.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

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Over the last year, our content output has grown from an average of two to three posts a week to an average of five posts a week. At the same time, we have also pushed the quality of our posts with deeper analysis and a broader reach of topics. Our daily average readership has doubled since last December. We believe we’ve found a winning formula in consistant postings combined with solid journalistic values. We have also instituted a few regular Flip features including the Viral Video of the Week and the Flip Infographic. We plan to continue these features and augment them with other regular features for 2012.  2011 marked the year that Flip the Media also introduced the student editor position which is currently being shared by Jonathan Cunningham and Daniel Thornton. We have also increased our contributor base with more people (in and out of the MCDM) providing posts. We look forward to having even more contributors in 2012 and having more posts coming from outside of the MCDM.

Looking back at 2011 here are the top ten Flip stories that received the most attention:

The Arab Revolution and Social Media

In this post, Liz Hunter was out in front of the growing Arab Spring story and the role social media played in the uprisings.  Liz’ analysis takes a critical look at the role of Facebook and Twitter in the uprisings just as Hosni Mubarak was swept  from power by the protestors in Tahrir Square.

Why HTML 5 will Kill or Seriously Injure Mobile App Stores

Karen Wilken weighs in on the role that HTML 5 will have in the future of the web and mobile. This post was picked up by a blogger at Forbes and that drove the readership numbers through the roof.

Is the Facebook Phenomenon Planking Actually Racist?

Planking wasn’t necessarily new in 2011, but the marriage of mobile cameras and social media has reached a point where phenomenons like planking can outpace notions of virality which were defined at one time by flash mobs and youtube. Is there a dark side to planking that harkens back to the colonial slave trade? It became a hot topic this summer and Flip Editor Jonathan Cunningham was on it.

Why Netflix Is Moving Our Cheese

The biggest business and media story this year was the missteps Netflix made when they tried to spin off its DVD mail distribution arm this Summer. Sean Wang was there to look at the Netflix story and see what the fallout was.

Behind the Photograph:  What is the White House Situation Room?

One of the biggest political stories of the decade was the hunt for Osama Bin Laden. That hunt dramatically ended this past spring and a single photo from that event prompted a fascinating degree of speculation about what happened during the operation that ended one of the world’s longest fugitive hunts. MCDM student and former Assistant Director of the White House Situation Room Brian Sollum provided the Flip with a behind the scenes look at that iconic room.

The Digital Ethics of Weinergate

Combining partisan politics, cell phone cameras, twitter and speedos, Anthony Weiner managed to hit for the digital media cycle this year with his bizarre and troublesome twitter antics.  Brook Ellingwood took a look at the ethical implications behind the story.

Netflix Moves Fast, but at What Price?

In the aftermath of the Netlfix meltdown, Brook Ellingwood sifts through the ashes of Reed Hasting’s once spotless reputation and comes away with a cautionary tale of hubris, imprudence and customer insensitivity.  Budding CEOs take note.

+1 Takes on New Meaning with the Launch of Google Plus

The biggest tech flop of the year might have been created by the hype surrounding Google +. While the ultimate success of Google’s foray into social remains to be seen, the MCDM’s own Kathy Gill gave the Flip an early look under the hood at Google+ and provided some must-read early analysis.

Occupy Seattle Takes Another Step

Just as the Arab Spring took nearly everyone by surprise, the Occupy movement that sprung up this fall was a fascinating development in a highly charged post-meltdown political landscape.  Flip Editor Dan Thornton went down to Westlake Park in Seattle to investigate.

Doodling: an antidote to digital distraction

Flip the Media is an excellent source for information about developing technology products and platforms. Cheryl Lowry takes the age old notion of doodling and puts it through its brainstorming paces in its newest “Sketchnote” form.

2012 promises to be an even better year at the Flip with a new design (see a version of our new logo from Therese Stone above) and more flexible back–end content management interface that will allow us to expand our regular content features and experiment with new formatting. This technological change will suport our continuing mission to provide thoughtful and informative content for our readers and an innovative and experimental platform for our student–journalists and editors.

Thank you to all of our contributers, advisors, editors and readers. From all of us at Flip the Media, we wish you a healthy, prosperous and peaceful new year.

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• January 6, 2012 -- Viral Video of the Week (part 2)–2011 recap (1)
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ViKi.com, Singapore based startup, is making international TV and movies more accessible to world-wide audiences via crowd-sourced sub-titling - in approximately 160 languages. Yes, even Klingon.

ViKi acquires the rights to programs, uploads them to viki.com and then leverages the power of its translator community. These willing translators provide real-time subtitling of world TV and movies–from Japanese Anime to Spanish Novelas to Korean dramas to Egyptian movies to the latest from Bollywood as well as TV series from Hong Kong, Venezuela, Russia, Korea and the UK.

According to TechCrunch.com, ViKi is attracting around 8.5 million unique visitors with approximately 36 million visits per month, representing a four-fold increase over the past year.

Since coming out of Beta at the end of 2010, 150 million words have been subtitled in 160 languages by the ViKi community. The site features 5,000-plus hours of content with over 1 billion videos viewed.

ViKi leverages the power of its translator community who provide real-time subtitling of world TV and movies–from Japanese Anime to Spanish Novelas to Korean dramas to Egyptian movies and the latest from Bollywood as well as TV series from Hong Kong, Venezuela, Russia, Korea and the UK.

The company is working on adding more premium content, including a new licensing deal with BBC Worldwide. ViKi also launched an international TV series this year on Netflix with subtitles, and is expanding content on Hulu.

Translators subtitle shows into their native languages under a Creative Commons license agreement. This includes revision history and user-generated edits. The more popular programs show remarkable translation times. As CEO and founder Razmig Hovaghimian explained in a recent interview, popular shows can have up to 10 different language translations in the first few hours after the content is uploaded. The number of translations can double in the first 24 hours and increase up to 40 translations in three to four days from submission. Normally, around 500 people contribute to any given translation.

Click here to view the embedded video.

The company is working on adding more premium content, including a new licensing deal with BBC Worldwide. ViKi also launched an international sub-titled TV series on Netflix and is expanding its content on Hulu. The company has also just debuted an iPhone app with an Android app soon to follow.

In an interview with the LA Times Caroline Hacker, a spokeswoman for ViKi, said ViKi’s current model is to license videos from producers and then share advertising revenue with them. There are plans to expand into fee-based video on demand in the near future.

Crowd-sourcing translation services such as ViKi means that language is not necessarily the barrier it once used to be for content creators. While those of us in the English-speaking world may be relatively unused to sub-titled content, it’s fair to say that many countries are not.

According to a press release from Viki, Playful Kiss, a Korean drama, reached US cable-sized audiences after an exclusive 10-day US run on ViKi, and then via Hulu.  ViKi licensed the content for other regions and the series was subtitled in over 40 languages – 20 of which were completed in the first 24 hours. “ViKi helped Playful Kiss find its audience” said Song Byung Joon, CEO of Group 8, the production studio behind the series.  “We’ve partnered with ViKi on several series, and are extremely happy to see how our old and new shows are generating significant new revenues for us from new markets.”

The appeal for content providers is obvious – they can leverage their product into markets all around the world creating new revenue streams at little to no extra cost.

The video streaming market is a crowded one. Everyone from individual content producers through to the large aggregators such itunes and youtube are looking to find ways to capture the largest share of the viewing public. For now, it seems that Viki may have found an interesting point of differentiation for itself – the ability to watch any program in your own language.

Investors seem to think this is a profitable leverage point for the company. In October 2011, ViKi announced $20m in new funding from investors around the world including SK Planet, a South Korean IT convergence platform provider, BBC Worldwide, and Greylock Partners a leading Silicon Valley private equity firm.

The question for the future is can Viki sustain its translation based competitive advantage? The key will be its ability to convince the leading content providers around the globe that it has a lock on a large translation community that will be loyal to its platform. Then it seems a no-brainer for producers seeking to leverage existing and new content into new markets at very little cost.

However, if the platform is easily replicable what’s to stop content providers or distributors from crowd-sourcing the translation themselves?

But perhaps crowd-sourcing translations on properly licensed content can help battle the video pirates and illegal down loader? At the very least, consumers should be more comfortable to stream or download free, high quality translated content without infringing on a producer’s copyright.

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• July 19, 2011 -- Why Netflix is Moving our Cheese (18)
• April 4, 2011 -- Content is King. Long Live the King! (2)
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Louis CK makes really funny jokes and he wants you–even if you are broke, especially if you are broke—to be able to laugh at him. His newest venture, Louis CK: Live at the Beacon Theatre is a full-length show available to download for $5. I just paid $19.99 for Chris Rock’s “Kill the Messenger” on iTunes, where full-length stand-up routines range in price from $4.99 to over $20. But here’s the thing—at this point we know that artists and comedians are making a pittance selling product through venues like iTunes and getting even less though streaming websites like Spotify and Last.fm. So Louis CK, ever the innovator, decided to take matters into his own hands and start selling his work independently.

Louis CK is a hard working guy who understands his fans are hardworking (or unemployed) people. So to maximize profit on his side and minimize cost on ours, he figured out a way to sell us Live at the Beacon at a fraction of what it would cost had he used a production company. The actual show cost $170,000, but was covered almost entirely by ticket sales at the actual live performances. He paid for filming out of pocket and did his own video editing and embedded virtually no DRM protections on the finished video. Marketing was mainly word of mouth, and 12 hours after it was released, Louis CK had made back his money.

Predictably, the show is “all over torrent sites” but it doesn’t matter. Four days after the release, he had sold over $500,000 worth of downloads, with a net profit of about $200,000. Granted, in his own words, this is less than Louis CK would have been paid by a production company to release a similar product—but that product would have cost more and been distributed less, both in the US and internationally. This way, anyone with an Internet connection and beer money can spend an hour laughing at Louis CK—and a few moments thanking him.

Musicians (Radiohead, Nine Inch Nails) have been experimenting with alternative distribution methods since Napster and similar file sharing programs rocked the industry a decade ago.  Contemporary authors (including MCDM Director Hanson Hosein) have utilized online publishing methods in lieu of the traditional publishing company in order to keep production costs low, release schedules short and profits in pocket.  Customers can potentially benefit from these lower upfront costs in the marketplace.

Actually, this type of experiment is not exactly a departure for CK, who has been granted almost complete creative freedom for his FX comedy “Louis.”  According to online news source Minnpost, The show costs under $300,000 to make, is shot on a digital camera and edited on Louis’ Mac. How Louis works is certainly risky, but could inspire other artists and comedians to cut out the layers of production and legal issues utilizing new media tools and new models of production.

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Pohl is a digital storyteller. He is fascinated by the mystery of communication and all of its moving parts. Until now, much of his time was spent locked in a basement editing on the post side of production for Victory Studios, a production house here in Seattle.

I recently sat down with the 30-year-old director at a Starbucks in Phinney Ridge. When I walked up to introduce myself, Pohl had already settled into a table, sipping an Americano as he thumbed the pages of Stephen King’s “Danse Macabre.”

Although Pohl enjoys the editing process, his real ambition is directing, high-end imagery and motion graphics.

Three years ago Pohl began to scribble story ideas on napkins and used stacks of paper–paper that he eventually would assemble into a script for his first feature film, “Divination.”

During that time Pohl found a new mentor, Thomas Lee Wright.  Wright is best known for his original screenplay “New Jack City” and is a former story editor at Walt Disney and Columbia Pictures, before serving as a creative executive at Paramount Pictures. Wright took Pohl and “Divination” under his wing.

“I’ve been locked in front of a computer,” Pohl said. “For two years I’ve sort of dumbed myself down. He [Wright] sensed that I’ve become too visual and did not incorporate enough narrative into my work. He advised me to get back into books and write more.”

Pohl quit his day job to start his own business, Bad Pixel (www.bad-pixel.com). He began to read Brian McDonald’s “Invisible Ink” and found his inspiration for “Divination.”

“Divination” explores interpersonal conflict in a supernatural realm. Conflicts like dealing with fear, nightmares and a tortured relationship. Themes, which Pohl believes will effectively resonate with his audience.

“To me, the key element in storytelling is putting the audience in a place where they can see themselves in the story,” Pohl said. “Either the leads are very relatable, or there are common situations that are universal to everyone – situations the audience can easily relate to.”

Pohl is very much like the main character, Jason, in “Divination.” He’s characteristically antsy, worrisome, pensive – not very smooth. Most of the time he is very content pecking away at his projects and not interacting with people.

However, he is also ambitious and has discovered the power of networks.

“Everything flows through people,” Pohl said. “The more people you mingle with, the more people you meet and are friends with the better rounded you are. For me, the most consistent people I know are well connected and they are a pleasure to hang with.”

There are two things Pohl is trying to accomplish in his career. The first thing Pohl wants, he also considers a pipe dream or a very expensive hobby,; Pohl wants to make full-length feature films that are successful enough to pay the bills. The second and more tangible goal is to continue producing high-end motion graphics and visual effects. Pohl is currently doing this as a freelancer and works project by project.

“I love both and in “Divination” I was able to do both,” Pohl said. “It was immensely satisfying. It was a huge collaboration. I was able to push pixels around in a basement, work with actors and write a script. It was a merge of two loves.”

Pohl is capturing an audience by telling stories that feel real to him — stories that are giving him a new perspective.

So far It seems to be working.

Pohl has three distribution offers on the table for “Divination” and is working on making this a sustainable business model.

Ben Pohl’s Tools:

Final Draft, After Effects, Panasonic P2 Camera, Pen, Tons of Paper, Phone and MacBook Pro

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“But wait, what about the elephant in the room?”

(blank stares)

“You know…monetization.”

(frustrated stares).

Oh, yeah, that.

Indeed, monetization is the question everyone is asking about regarding the future of journalism, and no one really seems to have an answer for yet either. How on earth are we as journalists supposed to earn money for our content when online advertising revenue is dropping and people are so used to getting news content for free?

I feel like the last few lines of this hilarious video sum it up quite nicely:

Click here to view the embedded video.

(To paraphrase: “I want to get a job working for The New York Times.” “Are you a subscriber?” “No, why would I subscribe? I can get it online for free.”)

Here are some avenues of revenue being tested right now in the media world and their measure of success:

#1 The Dreaded Paywall:

I admit, when The New York Times announced this variation of the “digital subscription” model I was skeptical. So…wait, let me see here: I can pay to subscribe to read more than twenty articles a month, or, just get all the articles I want for free through social media links? Fail.

The thing is, so far, it’s working. Here’s why I think it works: internet savvy and cheap people like me can find ways around the payroll- like the twitter feed with links to all the articles (that The NYT tried to take down). But there are enough people who maybe don’t quite know the social media landscape so well, are able and used to paying for quality content and trust the brand (like my mom), who will pay for the content.

And they do.

# 2  The Community-Centered Approach

Here’s a concept: let’s involve the community! Not just online. But, like, in real life. PRI’s This American Life did it successfully. WNYC also managed to bring in added revenue with their new Green Space built in 2009 (read about CEO Lauren Walker’s full strategy for the space here).  Putting on live shows, engaging in discussions, hosting public events, and then outputting the content from these events back into radio, video and the web is a self-sustaining cycle of beauty. It also has the added value of courting new members. Again, public radio seems to be leading the way on this approach, with cozy fundraising ‘listening rooms’ and even a RadioLab Singles night (imagine the combined lifetime pledges of two public radio fans who may have met there!).

# 3 Crowd Sourced Journalism

Two years ago Bay Area-based Spot.us came on the scene: a sort of Kickstarter for funding media and journalism projects. While it hasn’t exactly been a game changer, Spot.us is doing well, mostly by capitalizing on breaking stories and working with independent news organizations. Another variation of this method for a specific news outlet is to produce a feature story then have readers vote- through their pockets- for more in-depth coverage of the issue.

I’m not saying that any or all of these models might be the golden ticket to funding the new age of journalism. But these models do take the focus away from the troublesome advertising quandary- sometimes fraught with ethical dilemmas (like this example), when the editorial copy bleeds into marketing copy in the online link economy.

And in terms of sustainability, I do think that multiple small and diverse streams of revenue are the future. At least until some media-focused wizard genius can figure out an industry-wide solution for monetizing content and getting us all paid fairly.

Is that person you? Please call me; I have some investors I’d like you to meet.

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• November 2, 2010 -- In the ‘Post-Digital World,’ Newspapers are Actually Hip (14)
• January 12, 2010 -- Re-imagining the Future of Journalism (4)

Confusion and mishaps aside, Netflix did succeed in carrying out a couple of major tasks: it separated its DVD by mail service financially from its streaming service, and it raised the price of both its services significantly.

Recently, there have been rumors of a failed courtship between Netflix’s and Amazon. Wall Street speculates that Netflix split up in order to sell, and reversed that decision when the merger fell through. While nothing can be confirmed, the sudden announcement of Qwikster and the subsequent hasty change of heart certainly suggests there was perhaps more drama behind the scenes than what the audience saw.

While many view Amazon as one of Netflix’s strongest competitors,  very few in the media have paid much attention to the technology side of the story; namely, that Netflix runs much of its customer facing infrastructure on Amazon’s cloud.

In late 2010, Netflix listed reasons why it decided to put its infrastructure on Amazon’s cloud in its blog: “We could have chosen to build out new data centers, build our own redundancy and failover, data synchronization systems, etc. Or, we could opt to write a check to someone else to do that instead.”

That someone is Amazon, the leader in enterprise cloud services. Netflix does not own content, nor does it own much infrastructure. Netflix’s greatest asset is its brand and subscription base. It has been facing increasing pricing pressure from its content providers.  Its recent price increase may have retained its content acquisition power, but it may have paid a high price for that.

On the flip side, Netflix is one of Amazon’s largest “cloud” customers. For the time being, the two still need each other. But no matter how things unfold, Amazon seems to be in the driver’s seat. Quietly, the king of online retail has also become a formidable force in media.

This puts Netflix in an awkward position, as it has danced closely with its main rival. The recent turn of events at Netflix, together with Amazon’s increasingly more attractive subscription-based streaming  service and recent Kindle Fire introduction, makes the future between the two anything but predictable.

Netflix may be down, but it is still at the very center of a media revolution. Netflix’s future will almost inevitably involve some form of partnership or merger. To get out of the uncomfortable liaison with its chief rival, would Netflix be looking into another cloud, or even get much closer to another powerhouse, such as Microsoft or Google? Time will tell, but at least for the foreseeable future, the name on those familiar red envelopes will be Netflix not Quickster or even Amazon.

Netflix photo by Andre Alforque.

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• January 26, 2010 -- Mo’ Money – Amazon’s New Royalty Scheme For Authors and the Kindle (7)

We are all familiar with digital payments, from PayPal to iTunes accounts, direct deposits and online bill payment—but all of these are tied directly to actual fiat currency, or governmentally regulated, internationally compatible money. In Second Life, players use Linden dollars in daily activities, but these are also for purchase through US dollars. Digital currencies such as Bitcoin, however, operate independently from any national government. Bitcoin is “a currency by the people, for the people,” according to NPR’s Planet Money reporter Jacob Goldstein. It exists only digitally, essentially a computer program designed and implemented by a reclusive and mysterious man named Satoshi Nakamoto—which may even be a psyuedonymn for the actual creator.

It took me a while to figure out exactly how Bitcoin functioned, but here is the gist. Bitcoin is a peer-to-peer monetary system actually capable of purchase power. There is a finite amount of Bitcoins, “mined” by users who download the computer program, run it, and are hopefully fortunate enough that their computer discovers the hidden bitcoins by solving a complex mathematical equation. Bitcoin took off over a year ago and experienced a rush of interest—now very few Bitcoins are available for download. At this moment, one Bitcoin is worth fourteen dollars. But currently the only way to obtain Bitcoins was through an online trade, Mt Gox, purchased at the market rate using traditional currency. As of July 1 this year, the Mt. Gox trade has collapsed.

Bitcoin is experiencing a rocky start. After the gossip blog Gawker ran a story about linking Bitcoins to a website selling illegal drugs, the Bitcoin exchange rate went berserk. After Bitcoin was hacked and people were allegedly “robbed” of Bitcoins, the rate plummeted. Despite the ups and downs, Bitcoins are still exchanged and sold for cash. Aficionados and proponents of Bitcoin have developed a video shown in both English and Spanish. Interested? MyBitcoin.com allows you to sign up and open your own new wallet.

Once you start collecting, don’t be surprised if your Bitcoin bank account looks something like this: 4.56739002. Bitcoins can be divisible down to multiple decimal points—tiny fractions that seem ridiculous but may translate into real money should Bitcoin ever gain substantial value.

The Planet Money podcast on Bitcoin points out a major advantage: they are essentially online cash, which doesn’t actually exist. Every payment online is either made through credit card or lengthy bank account-linked transactions that can be expensive. I admit that when the podcast mentioned that one user had already made over five thousand dollars trading Bitcoins, I was intrigued.

If Bitcoin isn’t the future of digital currency, I am convinced something else will take its place.

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