The present and future of post production business and technology | Philip Hodgetts

Archive for August 2011

Just How Rich Are These YouTube Stars?

The rankings go from just over $100,000 a year up to $300,000 a year. Even for team productions that’s still a decent income from online video. And just like the traditional market, a few people are making good money, and a whole lot more people are making little to nothing from their online video efforts.

But at least it can be done, and young Lucas Cruikshank (a.k.a. “Fred”) with an estimated $149,000 income this year, probably doesn’t have to worry about college tuition fees, if he even wants to go to college.

In other news, Goodnight Burbank has secured a “real” TV deal with Mark Cuban’s HD Net. That’s in addition to the Hulu distribution that they’ve already had. Don’t know what sort of money is involved in the deal, but it’s a long way from the first Goodnight Burbank episodes.

Trivia item: My interview with Hayden Black on the Digital Production BuZZ in October 2007 was his first media interview about the show.





The Terence and Philip show tackles Transmedia

The Terence and Philip show tackles Transmedia in Episode 34

In this show Terence and Philip tackle Transmedia, the successor to “multi-media”. Transmedia is the extension of a program to more ways for the audience to interact with the program, story and characters. Is Transmedia the future of television?

Copyright Infringement and Theft – The Difference

The US Supreme Court has ruled that:

In 1985, the Court ruled in Dowling v United States that copyright infringement is not theft, even when dealing with physical objects, such as vinyl records.

And yet, despite that 1985 ruling so-called “intelligent people” – including VP Biden – have blatantly referred to Copyright Infringement as “theft, plain and simple”, in complete contradiction to law and precedent.

In reality the last thing the RIAA and MPAA want is for copyright infringement (a civil issue) to be prosecuted as theft (criminal).

Firstly, the standard of proof is “beyond reasonable doubt” and it’s very, very unlikely that the discovery process in copyright cases would pass muster. It’s never been proven to be reliable in any court anywhere in the world. An IP address does not identify an individual, no matter what the fantasies of the legacy industries in music and film distribution.

Secondly, the penalties are much more reasonable.

Regardless of your opinions on copyright infringement, in the USA, it’s not theft. Personally, I’d prefer “beyond reasonable doubt”. The article compares the Jammie Thomas case as it has proceeded under copyright infringement and how it would have proceeded had it been tried as theft: bottom line – a much smaller fine (with the potential for a short prison term, although unlikely for the very small amount of value “stolen”, as the criminal case works on actual real value: 99c a song!

Good push back against the ever-growing threat to civil liberties by the RIAA/MPAA and the disastrous PROTECT IP proposed legislation, which has the potential to “break” the Internet as we know it. And that’s exactly what they want, and we don’t.

A Response To Felicia Day On How Video Gets Funded In A Fragmented, Digital World

Felicia Day has had some success in the online video with her The Guild series. Initially fan funded (poorly) and now sponsored (by Microsoft is my memory is accurate) Felicia has a reasonable position as both a participant in the traditional TV series world (Buffy the Vampire Slayer) and online. She asks the question on Google Plus: (more…)

Shortly after I first arrived in the USA, I was teaching some Final Cut Pro classes for Intelligent Media. It was just before Final Cut Pro 2 was released, which I had been beta testing for some months, but 1.2.5 was the release version we were teaching. At that time it was challenging for new users to get settings right, particularly getting a good match between Capture and Sequence settings, so the first half day was dedicated to teaching settings and making sure they were right. It was personally frustrating because I knew that the about-to-be-releaseed version was much smarter about settings.

As it turns out, Final Cut Pro 2 was released early the next morning, so the first thing I had to do in that second day of class was tell my students that what we had learned the day before was no longer relevant for version 2 because the software had become smarter, and that made it easier for people to use Final Cut Pro and no doubt contributed to its success.


Metadata looms large at IBC I’ll be teaching Metadata & Asset Mngmnt #dvExpo code SFC11 to save money.

As expected, metadata is going to be a dominant topic at IBC, whether identified as such, or under the heading of Media Asset Management (MAM), because all media management is done using metadata, which is why I’ve combined them in my Using Metadata For Production and Asset Management day at DV Expo. (Check out my other sessions at DV Expo.)


I was working in Final Cut Pro X today and discovered a little trick with Smart Collections.

Smart Collections can be dragged from Event to Event.  You probably already knew that, but it was new to me.


Brad Bird: Hollywood isn’t brave enough to copy Pixar process

It’s an interesting interview about Brad Bird’s (and Pixar’s) creative process, but I flagged it for the headline, which leads to the second question:


Three authors, three examples of the disruption in publishing

Both book publishing and film/television are industries that were built on scarcity, that are being disrupted n an age of non-scarcity. That’s not to say that there isn’t success and money to be made in the traditional businesses, but book publishing is an interesting place to look for parallels to television (particularly).


How much money does it really take to make a documentary?

A good take on budgeting and how the “It takes at least $300,000” rule may not be as rigid now as it once was. Writer Edward J Delaney goes through six fundamental shifts that have changed the equation:


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August 2011
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