Episode 14: The future of PBS and Alternate Distribution.

Episodes

The discussion starts with KCET’s exit from the PBS network and the implications – including loss of revenue to PBS – does it signal the end of PBS? Will there be a PBS of the Internet?

Will direct producer-viewer connections drive the future? Remember too, that independent production is a business and needs the business model to be determined before production starts. How do we fund production?

Thanks as always to Zach Spell for editing the show and making us sound intelligent.

Podcast: Play in new window | Download (Duration: 23:26 — 10.8MB)

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4 thoughts on “Episode 14: The future of PBS and Alternate Distribution.”

  1. Pingback: Tweets that mention Episode 14: The future of PBS and Alternate Distribution. -- Topsy.com

  2. I agree with Philip that as far as I can see a few people are making a business out of their own films (M.Strange and Star Wreck) because they are not spending any money up front. Any money they make is profit because they don’t pay anyone because they take the time to get good at doing their OWN sound mixing and lighting and operation. That’s HOW they get good at what they do. The movies won’t be any good unless they get even slightly good at doing all the jobs. Plus being a good low budget filmmaker means you have to get good at getting something for nothing.

    The problem is the other side of it: after these few successes lots of other less talented and driven people think it’s easy to make a movie and make a million but don’t do the work to make it any good or market it cleverly. The market is flooded with dreck. So you end up with a widespread feeling that “nobody is making any money on their self financed indy movies…”

    Just my 2p

    Phil

  3. Hi !
    I’m Paul and i’m a geek-assistant and young editor just getting out of cinéma school (INSAS) from Brussels Belgium.
    I discovered your show yesterday and i’m already a big fan.
    As every young who just got out of schoot i know everything better than anyone ;). However i’m glad to hear new things to learn about and new things to think about (one of the previous sentence was a joke but wich ?).

    In you last podcast you said you like some returns on you show : i think you should keep being precise. You are not the only nerds out there and at least i listen carefully (thanks to the podcast i can press pause and get complementary informations on google if i need to) so don’t stop the good talk.

    A subject i’d like to hear you opinion on is return of the LightWorks (cross-platform and open-source for late 2012). I’m a beta tester on it and they really made good progress those last few month. A public beta will be released soon (says Edit Share).
    I was talking about this with a “senior editor” yesterday (someone around 60 years old who started non linear computer assisted editing on those machines twenty years ago). She said what she missed the more from it was the logic (like the Avid editor I am misses it in FCP) and the hardware panel (i don’t know the name of that stuff, but it’s a command like on the old Steenbeck to move forward and backward and big buttons to place IN and OUT marks). But i think what she she missed and what she didn’t knew she missed was the good old time of big companies with technicians soled with the machine to fix your problems.
    So on one hand, LightWorks could be the future of GreenField productions (yes i listened to all of your podcast during the night !) as it is open source and free. Many small production (the same who bought FCP at a time it was clearly not ready for long productions) will adopt it as soon as it gets a little recognition from the professional world -> IBC etc..

    But on the other hand, it is the continuity of what apple intended to do with their software (and more recently Avid is going in the same direction -> MC5 and PT9’s hardware opening).

    I think it is indeed the source of many problems we face in post-production now !
    Like a FCP crashing because Black Magic don’t deliver stable drivers for they’re (cheap) latest cards (HD Extreme 3D).
    Like FCP not being clever enough to manage some important meta-datas etc.

    The fact that no one in those kind of production is really geek enough gives me some work but a lot of PITA too. I say “geek” i should say “informed about the technology they use”.
    And i’m risking my reputation (small but growing 🙂 one) every time i sign for one of those tricky assistance. In fact people aren’t geek enough to even describe the problem correctly and i discover it’s real nature at the last moment. Every time i solve it i feel like I had again a lot of luck.

    Well i have to get back to work ! Hope to hear you soon !

    PM!

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