Episode 2

The show starts with discussion of the iPhone 4 as a production tool and continues into the antenna issues before talking about some of the films already produced on the iPhone.

Video as another sort of literacy and the implications then back to the iPhone – particularly the opportunity cost of lining up for an iPhone. Then some real-world observation of iPad in use. Philip rants about why Television is more of a challenge than movies.

The discussion continues onto the economics of television production. Philip then introduces Clay Shirky’s essay on The Collapse of Complex Business Models and the implications for existing production and distribution structures. Wrapping up into a summary of how production may work in the future, in a crude way and what business models might work.

The discussion then moves into the inevitability of change and the new models of marketing and revenue and the methods of building an audience.

Philip then wraps up talking about their new software prEdit, launched at the end of July from Assisted Editing.

6 thoughts on “Episode 2

  1. Hi Guys,
    In the last month, I have now heard 2 Podcasts (Including this one) actually being honest about how bad it is in Hollywood in terms of the industry imploding.

    I expected it to be problematic in Hollywood in may areas considering the economy and the content distribution model changing.

    In real terms, the advance in technology (cheap production software and cameras etc) and the near free methods for the distribution of content over the internet. Does this spell disaster for the highly unionised and generations of protectionism industry found in Hollywood?

    What are your opinions on how well Hollywood will ride this storm. How will it change? Who of the big incumbents do you expect to fall first? Who seems to be riding (adapting to the change) the storm?

    But then again, with change comes opportunities.


  2. The models are definitely changing. How to stay ahead in this new world occupies a lot of my mental processing time. Sounds like this is an area we should explore more Philip, I thought no one else cared.

  3. Hi Guys,
    Terence, I care greatly. I “LOVE” a good movie. I really appreciate a movie made well and as a person that owned a top 5 Facility in Melbourne Australia for a number of years before it was burnt to the ground (Started next door) I clearly understand the complexity of the process and how HARD it really is.

    I want to keep the big blockbuster, well made films and TV shows coming.. But am not sure we can.

    Philip and I have raced around this topic over the years. My opinion is that we are likely to see the industry leveled before it can be re-built. Current models (And incumbents) have to go away before the incumbents consider the new models. Models that are likely to be even more profitable to the producers but devastate the auxiliary business feeding of the content all around the world. (regional TV stations, cable stations.)
    Discussion point. When will the tide change and how. What are the signs of this change.

    Will this change be like Desktop publishing? It went really Bad before it became good again.

    Do you think Hollywood as we know know it will stay the dominent content production city it currently is? Will the ease f content creation and distribution water down Hollywoods concentration? Will the concentration of birds of a feather save it?

    There are so many topics I would love to hear about from within the circle.


  4. Desktop publishing is the model I’ve been looking to. We have to go through the “FrankenFont” stage.

    Maybe the music industry is a better model. It is difficult to make money on an album any more, the musicians have to make their money performing now, and the recordings are ads for their live performances.

    This won’t work with the Television and Film business as there is no “concert” revenue. So other means of capturing revenue need to be relied on. I think a lot of clever uses of sponsorships and embedded advertising will come into play.

    As soon as the theaters are all “digital” the cost of distribution will be extremely cheap. So the second to last stranglehold that studios had, the ability to front the money for prints and distribution, will be nullified.

    This leaves access to high end talent their last cornered market. You and I can’t get Tom Cruise to be in our movie.

    Interesting days ahead, that’s for sure. I can tell you if I was starting out now, with the tools that are currently available, I would have a larger body of work than Steven Spielberg by the time I reached my current age.

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