Canon 7D Camera Package: News You Can Use

Jeremy Redleaf the creator of the Streamy nominated ODD JOBS contributes an article in today's TUBEFILTER NEWS that will be of interest to those who are looking to shoot their own web series:

Ladies and gentleman, I’m happy to report that there is officially no longer an excuse for poor technical quality on a web series.

Retailing at approximately $1600 plus lenses (and renting for about $100 for the weekend in NYC), this SLR-Camera is making a lot of noise in traditional and new media production circles: SNL’s new opening sequence, Robert Rodriguez, and high profile web shows like Continuum TV, Vuguru’s The Booth, and Anthony Zuiker’s Level 26 are all taking it out for a spin.

The 7D is a game-changer, but it’s not perfect. Here’s everything you need to know to shoot successfully:

Essential Equipment

• Canon 7D Camera
• Two 32GB CompactFlash Cards (minimum 133x speed)
• CF Card Reader
• 4 Canon Batteries & Charger
• The 24-70 Canon L-Series Zoom Lens
• Tripod or Monopod
• Shoulder Mount
• Portable Digital Audio Recorder (Recommended: Zoom H4N or Tascam Dr-100
• Boom and/or wireless mics
• Slate
• The Super-Flat Setting Download (Install this setting to allow for greater range of color correcting)
• Really nice things to have if you can spend a little more
• RedRock Digital Cinema Bundle
• Follow Focus, Matte Box, 15mm support system, pistol grips)
• or Zacuto Bundle
• External HDMI Monitor
• Set of Prime lenses (Canon, Nikon, or Zeiss)
• .3, .6, .9 ND Filters (for outdoor shooting)
• Professional Anton Baur or IDX V-Mount batteries

Personnel Needed

• A DP who knows what he’s doing
• A 1st AC to pull focus & tech
• Field Sound Operator

Pro’s

With 1080p HD quality, full raster, and the ability to use inexpensive prime lenses for that film-like shallow depth-of-field, the 7D is the absolute bang for your buck. Not only is it incredibly affordable on the front-end, the camera also performs phenomenally well in low-light situations which opens up the possibility of using some practicals and renting a smaller lighting equipment package.

 Go to the link above to read the rest of the article including looking at sample footage from their web series.  I would also suggest looking at this Google Search to see test footage demonstrating the dynamic range of this camera.

We're at the point now where we've demonstrated that web series can be a viable form of media making. Now is the time to raise the bar in terms of content and production value. Cameras like the 7D will help raise the production value, it's up to YOU to raise the entertainment value. 

Conventional Wisdom Redux

Alex Epstein over at Complications Ensue has a post up titled: Conventional Wisdom Overheard at the Telefilm Multiplatform Conference. 

There's some good stuff in this, but I wanted to focus on one aspect of Alex's post:

2. “Expensive-to-produce content is doomed.”

Really? I like LOLcats as much as the next guy, but it’s fun the way pork rinds are yummy. Don’t we still want the filet mignon of MAD MEN? I don’t believe people will stop wanting sophisticated stories that are well-acted and well-produced. But I’m an opera fan, so draw your own conclusions.

Okay, point taken, Alex.  But you didn't address the quote.  What the quote is saying is that the actual productions must be financially responsible because they have no money to spend.  Productions must now spend relative to the expected return.  You can't throw money at the problem. 

Again, the money isn't there anymore... and really, that's okay.  Two points:

1. Well-acted and well-produced are not terms that are dependent on budget.  

 Sophistication is a function of story and character.  I can tell a sophisticated story in any location.  And thankfully, technology in the hands of talented people has resulted in high quality images - production value - at low cost.  You can shoot anywhere now - meaning the pool of talented actors and others aren't just working in the usual suspect cities.  If you're a fan of opera then you realize there are lavish spectacles in theater and there are stories told on a bare stage - both can be compelling.

So the line in the sand you're trying to draw here between web series as just cat videos** and television is already blurred. There's quite a few sophisticated-looking, compelling web series out there.  Here's one.  Here's another.  Both made for peanuts compared to television shows. 

(and both are better looking than some shows we've both seen on the tube)

To paraphrase Rogers from a conversation we had awhile back - the only difference between the look of an expensive Hollywood production and an indie is just giving  a damn. The tech is there.



So let's put to bed this idea that it costs a lot of money to create compelling cinematic stories with high production value that people will pay for.  That's an artificial barrier that doesn't exist.  We know that people will pay for what interests them.  The point is that this business has spent a lot of money that hasn't shown up in story or on screen.  That's part of the reason people have flocked to other forms of entertainment (video games, web videos).

It's our job to change that... to look at the story and say, "How can I get the most entertainment value, the story, to my audience for the money I have?"  Because if we don't do that - if we don't rethink the business and how it operates hand in hand with story and not just money - then there will be fewer and fewer shows, and more and more people out of work.

Then we all lose. 


             2. This is also part of why multi-platform is being discussed in the first place. 

If you can't put all the story in the show then you NEED other ways for people to become part of  your story's world and characters.  Inexpensive ways - art, text, audio, games, etc... Immersive ways.

People won't stop wanting "sophisticated stories that are well-acted and well-produced."  We'll just have to create them for less and tell those stories across multiple platforms. 

We can do that.


** to be fair,  there's a lot of cat videos.

Roger Corman Presents: SPLATTER

Is it a Cable TV premiere or a D2DVD?

No - it's Netflix's first ever web series! (via Tubefilter)

Netflix, which started as a simple “DVD delivery to your home” service and has grown to delivering movies straight to computer and XBox is now about to tackle the world of web content. And they are doing it with a bang. Literally. To Corey Feldman’s head.

Feldman announced yesterday on his blog that not only will he be reprising his role as Edgar Frog in Lost Boys 3: The Thirst…he’s also going to be starring in Netflix’s first ever web series, Splatter. Not only that, he’s teaming up with legendary directors Joe Dante and Roger Corman to do it.

The project itself is still mostly under wraps but Feldman could say a few things about it. “The project is titled Splatter and is being created for Netflix. This will be their first ever live streaming web series. Splatter will be a multi episode web series that will go live on the web on Halloween weekend. My character’s name is Jonny Splatter. That is pretty much all I am allowed to say for now.”

But there is one more small thing more he can show you… “in light of Friday’s Chiller Eyegore awards ceremony, the folks at Netflix were kind enough to launch a teaser site of the new web series as the show began. I will give you the website address so you can catch the first glimpse for yourself…but before I do that I must give you a warning…this is not for little kids. The material is graphic in nature, and parental discretion is strongly advised…this is a pretty shocking 30 second clip you will see. Please make sure you remove small children before reviewing this teaser. OK now that, that has been said, the address is www.netflix.com/splatter … and remember it’s just a little Halloween fun!”

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Okay gang, the takeaway on this is:

1) Netflix thinks there's money in webseries.
2) Netflix has a business model that is very very strong.
3) Roger Corman (a man who doesn't do anything unless he sees the "upside") is doing a web series.

This is good for all of us. Now we have to find out how much they're spending, the structure, etc... the business details.

BATTLE JITNI : The Danger Element

This looks fun and features latex actor Doug Jones (HELLBOY, ANGEL OF DEATH)in a steampunk-ish, Road Warrior, alt history adventure. It needs better, tighter editing and less self-indulgent directing. It is however over-the-top so...

ENIGMA: A TRAILER

Jon Molly sent this classified video link today. Embedded below:

Coercion, blackmail, reward, extortion, assassination, "Honey traps" -- all are fair game. After all, there's a war going on right underneath our noses.

Who or what is Enigma? Who's side is it on?

Who's side are you on? Do you even know?

Enigma: More Conceptual Stuff

(c) 2009 by Bill Cunningham and Mad Pulp Media all rights reserved
We are watching you...

ENIGMA:

The scariest (meaning most effective) intelligence network doesn't exist.

There is no headquarters.

There are no Directors.

There is no list of agents to fall into enemy hands.

There are no James Bond gadgets.

Because in the real world if you want to really fight the bad guys...

Then it's best not to exist.

Because then, you could be anyone, anywhere, anytime.

Because then you can't be traced.

Because then you're not on anyone's radar.

Because then no one has a file on you.

All they may have are rumors, innuendo and half-baked truths.

No evidence. Nothing they can prove.

Because you don't exist.

And that's very, very scary.

ENIGMA : Webseries Concept

The spy network of the future is only a phone call away.
(c) 2009 by Bill Cunningham and Mad Pulp Media

LADY WASTELAND

More here.

HATE the voice over. It detracts in most instances and only marginally enhances in others. I can't believe that a gun-toting, whipcrack of a heroine like this would have this sort of "voice" in her inner monologue. The narration is meant to sound important and artistic and that's precisely why it doesn't work. The action camerawork could be a bit better, but the storyline moves well and the production design is well thought out. It's a good location and could look especially creepy at night.

I'll say check it out.

Tubefilter Has Ten Lessons For You

Tubefilter should be called Tube U as lately it has been offering lessons on web series from people who are out there making them. (Important as Apple announces its ITunes Studio for original productions) This time, the nuts and bolts advice comes from Steven Hein who is VP of digital and short form content at Fox.

1. Don’t make cheaper television. Recognize that the web requires a different kind of storytelling. Making cheaper, shorter versions of things that look like TV is a recipe for disaster. Tackle interesting subjects in interesting ways. TV is already online. How is a cheaper shorter version more competitive or compelling?

Like maybe it could be good? Surprising? Unusual?

2. Don’t program like television. Digital viewing is not appointment viewing. There is no rule as far as length or format so creators should embrace this.

Right. But you have to make destination viewing. Make your show an event. (See: Dr. Horrible, Season Premiere of The Guild). Even if they don't watchit right then - they should know when new episodes are on and running and how easy it is to catch up with the rest of the cool kids.

3. Know about destinations and monetization. Most sites produce their video content not to make profit but to differentiate a website within a crowded space. The job of a studio is to create value from intellectual property several different ways. Think about how your show will have more than one revenue stream. And please know the difference between sponsorship, branded entertainment, and brand integration.

Plain, old-fashioned business sense that is often lacking in plans for web series (or movies).

4. Don’t produce too many episodes. Online audiences are finicky. They are constantly looking for something new. Don’t believe that you can keep their interest in something for several weeks or months. Program content in event bursts. If success is found, produce a new “season.” (The exception to this is news/lifestyle programming. Audiences do build relationships around these subjects and will check back often if not daily.)

Build enough to release one DVD with added content. That has to be part of your monetization plan. Figure out your "season". When/where is your audience hanging out and receptive?

5. Don’t neglect marketing/promotion. Viral promotion is the exception, not the rule. Know how to channel something if it goes viral, but don’t plan on something going viral as your promotion plan. Rather than waiting for an audience to discover a show, build up your audience through connection and interaction before it premieres.

(See Mercury Men)

6. Casting and execution are critical. People think their friends are funny, attractive and/or talented. Often they are not (unless you’re friends with Neil Patrick Harris and/or Felicia Day). It doesn’t matter if it is TV, film or the web. A great deal of care and effort has to be placed on putting the right people in-front of (and behind) the camera.

It's called creating a "professional product" - it has to have a compelling reason for people to watch. Making a show look good isn't just 'point and shoot.'

7. Create unique entertainment experiences. As pointed out is Lesson 1, embrace the interactivity of the web to build community, engage the audience and grow a relationship with the viewer. Why does this show or concept have to be made for digital rather than other formats? “Because I tried to sell it as a TV or feature script and nobody bought it” isn’t the right answer.

Every. Freaking. Webisode there should be something that makes the viewer go, "I can't believe I just saw / heard / felt that." (preferably all three)

8. Have a point of view/voice. This lesson is ubiquitous to all formats – web, print, film, TV, etc. A unique point of view with a compelling story is the most important thing a storyteller brings to the table.

Perspective is everything (See Memento)

9. Targeting is essential. Know your audience and know how to reach them. The online landscape is far more expansive then the number of channels on a cable box. There is no scarcity of video options online. Embrace the internet’s ability to find and target a very specific audience.

Find a specific niche within a wide audience. It can't be you are going to do a show to appeal to horror fans. It has to be a show that appeals to zombie fans.

10. Redefine your market. The audience for digital is bigger than the audience that is online watching web video. Give audiences a way to discover your show off-net. Make them go online for your show.

If you are just on the web you are neglecting many people who may become part of your audience. Merchandise helps. Publicity helps. Your job is to make sure everyone who could ever potentially love your series - who would kill their parents for it - knows about your show.

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I'm going to come back to these comments after I take a little break. There's some "playing room" within the parameters Mr. Hein sets forth.

Things You Wish You Knew Beforehand

From the Tubefilter article by Rochelle Dancel, I present:

Confessions of Indie Web Series Creators: Things They Wish They Knew

But of course my little pulpsters here know all this stuff already. You're a crafty lot ...very, very crafty.

Pursuant to my Earlier Post re: Web Video Money

That you can find here, Nikki Finke has a nice announcement that foretells the future of entertainment:

"Reveille last Thursday has signed a deal with Machinima.com, an entertainment network for the gaming generation. It's to executive produce and secure sponsorship for the Machinima Comedy Lab, a collaboration with 15 leading episodic television writers from popular TV series like The Simpsons, Futurama, SNL, Seinfeld, to develop original episodic comedy pilots for the Machinima.com network. One of those writers happens to be WGA West President and animation writer Patric Verrone. By securing sponsors for the Lab, Reveille and Machinima.com claim to be creating "a cost-effective way to incubate episodic series that can migrate from the Internet to TV with Reveille packaging the most successful series as pilots for broadcast and cable TV". (Machinima.com is the 7th most subscribed YouTube channel).

The writers working on the Machinima Comedy Lab pilots include: Ken Keeler, Stacie Lipp, Bill Oakley, Max Pross & Tom Gammill, Patric Verrone, Maiya Williams, Chris Cluess, Bill Freiberger, Eric Horsted, Christina Lynch, Peggy Nicoll, Mike Rowe, Loren Segan."