It’s funny how pleased I am that I face yet another high-profile opportunity to have people watch the content that I create for free.  Snagfilms.com is currently featuring Independent America: Rising from Ruins on its homepage, and will distribute it through a number of other channels, including Hulu and hopefully Netflix at some point (my first film “The Two-Lane Search for Mom & Pop” is already on Hulu, and is heading for iTunes).  Sure, you can still push for more money via a broadcast TV license, but at least as an indie filmmaker, those are getting harder to find, and they’re paying less.  So we content ourselves with the “digital pennies” as the “analog dollars” slip away, with the sheer hope that online, multiple-channel exposure leads to benefits in other ways (i.e. keep your day job, build your own personal brand).

The world of content — especially professional content — continues to shift beneath our feet.  Three years ago, I used my first class as a digital media professor at the University of Washington to understand just what I had produced with that first “amateur” film of mine (I had been a professional journalist, but I had never filmed my own feature-length documentary before).  The title of the class?  “Selling the Message: The Business of User-Generated Content.”  The “business” then, was under threat from pseudo-amateurs like me, with the explosion of digital media capture tools (aka, cheap cameras) and distribution platforms (aka, YouTube).  The established, institutional studio system seemed to be under attack as this proliferation in new “voices” transformed media into yet another commodity.

But interestingly, despite this commoditization, apparent amateurization, and the uncertainty of the economy, somehow the increased availability of media online has also produced more demand for “professional” content.  Witness Steve Jobs’ remarks this week as as he introduced Apple TV: Read more…

I wasn’t too concerned about missing the Opening Ceremonies from the Vancouver Winter Olympics, as I figured I could catch it online afterward.  NBC was keen to showcase its cool new Silverlight plug-in by streaming a considerable amount of the Beijing games in 2008.

But when I tried to watch Part 1 of the Opening Ceremonies, up came this message, along with a sign-in screen:

“You have selected a premium video (e.g. live stream or full-event replay).” Read more…

For years, I only knew of George Lucas’ 1977 cinematic sci-fi breakthrough as “Star Wars.”  Then I found out that it was part of a trilogy. But wait, Lucas had a plan all along; this tale of an oppressed rag-tag alliance looking to overturn a hierarchical, monopolistic political system (aka “The Empire”) was always meant to be “Star Wars Episode IV: A New Hope.”

Of course, in a multi-part saga, if the good guys get their way initially, the Empire is always going to have to Strike Back to make it a good story. When I read Groundswell co-author Josh Bernoff’s The Splinternet Means the End of the Web’s Golden Age, that’s what immediately came to mind.

We’ve been declaring an end to media monopolies for a while now, thanks to networked communities who no longer require institutional intermediaries to share, collaborate or take collective action.  This ability to produce and consume media for almost free threatened the very economic model that media moguls had taken to the bank for over a century. As I made my own transition from corporate media journalist to independent content creator, I took advantage of new, inexpensive tools that we saw as the great democratizer of production.

Apple was part of this rebellion, helping us to crash through the barriers to entry with the digital weaponry of firewire, USB, Final Cut Pro, iDVD — this filmmaker’s “secret plans to the Death Star,” so to speak.  As digital content proliferated, The Empire writhed in agony, from The New York Times to Conde Nast to NBC, desperately in search of new business models.  Now, with renewed focus on pay walls and walled gardens, Bernoff sees Apple’s new iPad as the turning point as we leave the Web’s hopeful first age of universality and openness:

…[M]ore and more of the interesting stuff on the Web is hidden behind a login and password. Take Facebook for example. Not only do its applications not work anywhere else, Google can’t see most of it. And News Corp. and the New York Times are talking about putting more and more content behind a login…Each new device has its own ad networks, format, and technology. Each new social site has its login and many hide content from search engines. Read more…

Last week, we cancelled our cable TV service.  In one fell swoop, we went from 60 to 0.  No more DVR, HBO in HD, nor movies-on-demand.  Also gone: the extraneous 700 other channels that I never looked at.  For the first time since I was a college student, I wasn’t tethered to a coaxial connection.

I told Comcast, no hard feelings.  We kept their broadband and voice services.  I said, we needed more “breathing room” so I could work on my book (presently entitled Trust Me: How to Tell Stories in a Credibility-Starved World).

I was being truthful.  That said, that I’m also saving $1000 a year.  I’m ingesting content specific to my interests (streaming Hulu and Netflix through my Playstation 3).  And I’m putting the savings to media that matters most to me: public radio (KUOW, KEXP), the Seattle Times Sunday paper, and a dead-tree subscription to the Wall Street Journal.

Image from zeropaid.com

Thanks to three recent articles in that same Wall Street Journal, I now also believe there’s a higher purpose to this decentralization of my media choices.  Because once again, large institutions with a vested interest in maintaining their power aren’t too pleased that people like me are making such choices.

Read more…

Say What?

They say YouTube isn’t making any money.  Its bread and butter is user-generated content, although it has managed to draw partnerships with some major Hollywood content providers, such as Fox and Warner Bros.  Nevertheless, the money is supposed to be sparse.  Then you have Hulu, which got started with content from some of the major players, like NBC Universal and Fox, right off the bat.  Hulu is, according to the word on the street, doing very well.  And so what we’re looking at is two models, UGC and content from mass media.  In other words, a site catering to social media vs. a site catering to mass media (or, instead of simply saying “mass media”, we mean the lumbering, late arrival of mass media content providers to the social media space).

Read more…