Hirsch sent me this shot this morning (before the accident filming)…from the hypervideo mapping “the c.a.m.p.” …with the note “Can we mark a big `L` on his head in the hypervideo?'”. Me- “sure” Lovely shot (FYI character is drunk in this scene)
Netflix is crashing for the same reason anyone who is not building long form, genuinely-wide, ethos/pathos/logos-driven content creation, yet built a model for a platform to deliver it, will too. Complex, interactive, multi-platform retail integrated content creation that is good enough to entertain masses amount of people, at a quality that is in par with network and television programming …is king. Studio signatories are chained to their scale and signatory agreements. This new medium also has to be long form enough to carry the retail integration in a sufficient layback.
Get on the train or get out of our way.
… Making all of this.. which needs the expertise of independent long form production systems and budgeting…(studio knowledge alone is far too scaled and stuck in high $$$ to back down enough on budgets to take the risk yet)… a near impossible needle to thread and keep the quality of ethos, pathos, logos and commonality that you would need. Easier to teach indie filmmakers who understand all the elements of the layback and production processes how to handle integrated retail and stronger story development… than it is to make what presently is considered ground breaking on the internet actually successful in the wider tv and film market.
Content architecture is the real estate by which all advertising and integrated retail will exist. It’s design of ethos, pathos, and logos… (The emotion, appetite and utility of purchasing… The only reasons anyone purchases anything) matter more than a 10,ooo eyeballs…when dealing with “purchase”.
Again, that is a contract that has to come in prep… a “first in/first out” contract which has the power to step to the front of the payout line… and a safer bet. And anyone who thinks attaching gimmicks (random additional platforms that were not in the inception of the story) to the outside of a story to widen the audience without a core quality structure that those are born with/extend out of organically… has a long way to go. Anyone who thinks building a story around a brand will cut off 2/3 of a market and may damage a brand if the content seems like a giant commercial. There is a way for brands to help build content with storytellers. …but that is for us to keep secret. ; )
There are 4 in the royal court. Audience, ISP/Telephony, Retailers, Browsers.. but the king controls virtual real estate of the internet… …the content architects.
Content architects are at the beginning threshold of their reign. Where the value in the internet is around location.. location.. location. The better you make content.. with the most interface and quality ethos pathos & logos… the stronger your location portfolio for brands who want those features, interface and location (in the storycube) to instigate retail… the more you are the “first in first out” contract with revenue negotiations.
First in / first out contracts hold all the power when the field of delivery is as level as it is.
I’ll say it until I turn blue… in the next year… hypervideo HAS to be interchangeable with AR. I have said it for YEARS. Everyone has an ego. Unfortunately some are right… and some are just unaware some luggage is actually an elephant.
10 years ago I left NBC/Spelling and tomorrow is the anniversary of packing up my dog to travel on a sort of vision quest about the medium and the industry. 10 years focused on creating the new format..and reinventing a medium/industry. A goal that is getting very close by the week.
10 years studying everything from the technology to the script formats to the kraft service to the ad buy system.
10 years. …so please don’t tell me how I am an ass ..or don’t know what I am talking about.
I am not violating the NDA because I have talked about it for years… the hybrid delivery of television (and film actually) or the multiple pipes (cloud, ISP, home hub and telephony) is a very specific delivery and took me years to come up with. Much of which I have spoken about openly on Twitter and the blogs for the last three or four years. The dual screen sync, virtual appliances and “clocks” were the key. I had no idea that some very important people were listening when I was writing.
TV and Film will change this next year. To almost everything I predicted in these rants 6 years ago. Unfortunately the open and indie markets are way off track with the systems (popcorn.js ..ugh what are they doing?..I handed them on a silver platter..and most arrogantly (as many of the voices are young and believed technically they knew better) ignored as some even called me crazy and an idiot.. which is just funny now).
But TV will change this year…just in the hands of some very large companies who will control the internet when it is all said and done.
This was originally a post I put on Quora at the beginning of the year. It bares re-posting)
I really need an extra 3 hrs. a day for an electrical engineering course … because my job is to figure out what the future of entertainment is and build behind the curtain before the audience gets to it. I do the work ahead of time because 99% of audiences DO NOT want to work at it. They have other things to do. What we make is supposed to be the break from that ‘work’. The evolution of it STILL needs to be the break from that. The 4th wall needs to be a break from that. 4th walls are balanced between art and experience.
…So I also need to lose all this deafening white noise, hype and snake oil of anyone else who is bringing up their expertise at creating ancillary markets as platforms you attach post-inception & ARGs as “new media’s future and future consumption,” not just a different form of the same ancillary and marketing, as they get up to microphones at every panel telling people this is the future of film/tv structure not just a different form. That it is all about “transing” multi-platform” not integration into a new form. That those people to whom they are speaking “don’t know how to do this ‘new thing'” (and I am not talking the people who have been genius’ at it in ancillary and marketing in the past, the Mike Monello’s, the Jeff Gomez’s who really talk about it in ancillary audience expansion terms and that what they do is not the final future…but a step toward the future) and these same people tend to go on and say we all should pay these panelists for their special expertise and buy their knew book they just wrote…because audiences will just be about jumping between platforms in the near future differently playing active games and participatory attachments. I am not trying to be a jerk here, just point many of the new emperors have absolutely no clothing on. Audiences do not want to jump…they want to flow inside the original story. They do not want, or are able to…to work at it and still fulfill their end of the contract of suspension of disbelief. Because we as storytellers, when we build this way, without integration that is organic to inception and flow … have thrown disruption in, in ways that takes them out of their 4th wall. This is the opposite of the promise of interface, immersion and the internet. So far, I have yet to see this combined with a film/tv experience a majority of people want to spend a half hour in, never mind 90 minutes. So I am not sure where these experts telling people they suck, and that they know how to do something that has yet to be done truly successfully, came from. Sorry but we need a little reality here, as we are getting so far off track by pied pipers buying their own hype. Do they see the #s? Clearly the overwhelming predominance of mixing film, TV, living room (and even most mobile) games with ARGs, active large physical, time and emotional investment, etc… … Completely not the future for people who want to sit, veg and be taken away for a ride..an easy ride. They are, in very few cases focused on the path toward something like a holo-deck with interoperable mobility … but instead going backward to Dungeons and Dragons (and Scavenger hunts). Incredibly fun for a handful of people (including myself) …not so much for the rest of the population…who have other “sports” with actual athletics they enjoy more. Easy, simple, real time, no worrying about complicated paths and routes that are down the road in the future. People step in and quickly, and organically, flow into an experience. A full story consumed simply. No matter what hurdles are there…the flow carries them. But hurdles are hurdles.. they should not be large and disjointed. We have had that and it does not change the model.
…That is why the check in with geo-location platform that gets easier and secure will eventually win.
…That is why the social platform that gets easier and more secure will win.
…That is why the home hub / identity / virtual foyer that gets easier and more secure will win.
TV/film/game interfaces don’t need to get to be more difficult for that population. In fact, entertainment and interfaces need to be less obtrusive, not more. The story and mystery/magic/mental challenge can be a workout mentally if the interface is simple. Role playing, scavenger hunts, or active geo-location immersion is like fencing… it is great to try… but not great enough to have 99 % of the film/tv demographic not be bored at best by it…annoyed at obtruding on their jungle gym time at worst. It can expand your audience a bit…extend your reach a little bit but at what cost at disrupting the 4th wall… and at what cost at missing the more important tasks of real time mental immersion and interface? At what cost to the making your “flow” organic and hypnotizing to give a full sensation of imagination? Immersion is in the head. All these people who start pitching numbers at how people get more immersed by building contraptions… are like bankers who do funny math and create subprime mortgage-backed security and collateralized debt obligation. Immersion and the 4th wall is an art.. that is easily disrupted. Think about someone talking in a theater… or a cell phone going off. Changing platforms and additional work for the audience can be done… but it is like performing surgery on a highway if you take it out of the theater and solemnity and focus of a single room. Platform exchanges and transitions are obtrusive by nature. As a filmmaker who has been an actor in a few successful films (and plays… Leaving Las Vegas, Pariah, subUrbia, Beirut, and now Math,etc… …even projects like Autumn Heart, Muir projects, Liberty etc left me psychologically worn, in just walking the simplicity)… I know immersion. I know action and reaction and story flow. I know immersion when you don’t have time or money. I know what it is like to go between scenes (platform transitions in a way) and the disruption to focus. It has never made the immersion a more enjoyable experience or entertainment experience like sitting at the TV or in a theater. Those purposes are completely different. The future of entertainment is eating the “meal” not making it. We will always have “chefs” who say people will enjoy the food if they take part in the making of it, because that is how THEY feel (and why they are trying to be chefs …kind of, by changing some other chef’s meal and adding side dishes as it is being served…just sayin’) … Most people like to go to a Bisuteki, watch the meal prep or take part in making the meal once a year. The rest of the time Tapas is great, Lobster where you have to crack open the shell is great… but don’t ask them every evening to go catch and prep the food. A small demographic of people will say “the customer wants to do that, It is fun”. These are people who should not have a microphone more than once. Audiences like “new” experiences … but most new experience’s that took work…don’t tend to get a large repetitive return.
FYI- Film&TV escapism saved my life as a child. It’s economy & image has helped build this country (and helped us recover more than once). Too important to me to let bologna take hold…again.
I’m sorry but it is frustrating hearing these Creative Commons “experts”… Who clearly have little, to no, experience with complex collaborative professional media production.
It is baffling that they are talking about “one click” wavers of complex, layered media licenses with clearly no understanding of the complexity and any history of how collaborative media like live action filmmaking and episodic television comes together.. Especially in independent but large scale production formats work. Their basic lack of knowhow about it’s complexity in the majority of independent film and television industry with regard to distribution, profit share standard In the face of proposing simplistic and easily mistaken standards for sharing is downright malfeasance.
Live action Television and film is collaborative on a level and subtlety of expanse that is so layered and deep clearances and agreements within the media can run deep. That is why distribution and license extraction agreements, even for independent, non-signatory projects take days to months to settle agreements. A film is not a song, a blog, a book. And Transmedia in many ways now makes it easier and more complicated depending on how clearances and agreements were structured on the front end.
What is clear to me from perusing the discussions from the supposed “experts” on CC agreements they are way out of their league not understanding how a majority of film and television projects come together and how easily mistaken and permanently damaging a “one or two click” licensing could be.