videoblogging und das dahinter

Videoblogging ist “amateur content”.

The long tail http://www.wired.com/wired/archive/12.10/tail.html beweist wieso dieser amateur content ein besserer markt ist als das block buster business.

Chris Anderson skizziert mit the long tail, am besten mit was für einem markt und businesscase wir es bei videoblogging langfristig zu tun haben.

weitere links zum long tail: http://en.wikipedia.org/wiki/Long_tail

Creative Commons bildet nicht nur den legalen rahmen für videoblogging und anderen “amateur content”, sondern steht auch für eine neue digitale kultur. CC ist eine ideologie und bildet die grundlage für zollfreien medialen wahrenverkehr im internet. Copyleft statt copyright, sharing statt scarcing. Ein sehr schönes beispiel vom umgang mit cc ist stefans beitrag bei rocketboom.

Chinesische musiker verdienen mehr geld an live konzerten als mit cd sales. Sie haben aufgrund der fatalen piracy situation in china gelernt ihre cd’s zu verschenken und dafür umso mehr besucher in ihren konzerten zu haben. Genau dasselbe gilt bei amateur content. Amateur producer haben sehr viel mehr davon wenn sie ihre inhalte anderen frei zur Verfügung stellen als wenn sie den zugang zu diesen inhalten durch strikte copyright laws beschränken.

Was für einen impact und markt independent content haben kann, hat meiner meinung nach UK’s channel 4 gezeigt. Ich möchte hier einen text verwenden den channel 4 unter http://web.channel4.com/learning/programmenotes/english/wtcfour01.htm gepublished hat.

Background

Whilst most people understand the difference between ‘purely commercial’ broadcasters such as Sky and the ‘purely public service’ BBC, hybrid institutions such as Channel 4 offer an illuminating case study of the institutional and ideological shifts in the media industry over the last three decades.

Channel 4 attempts to balance the competing requirements of minority and mass audiences, regulation and innovation, commercialism and public service.

It may seem that Channel 4 is not a significant ‘owner’ in the sense that media conglomerates such as AOL-TimeWarner or News International are. This however misses the point that Channel 4 as a ‘distributor’ finances a significant ‘supply chain’ and is also a ‘marketable brand’. Added to this, Channel 4 has control and ownership of copyright. As the narrator states in this opening episode, Channel 4 is ‘the hub of the wheel’ in the production process.

Channel Four makes none of its programmes in-house. Instead, it either acquires them ready-made from other broadcasters or commissions them from independent production companies. In 2002 Channel 4 used 321 production companies and obtained 78% of its peak-time programming from the independent sector.

The commissioning process is centred round a team of commissioning editors, each addressing a specific area of programming or audience and working in eight departments under the overall control of the Director of Television, Kevin Lygo.

This commissioning system means that in principle even the smallest production company can get a major commission, provided the Channel wants the idea and has confidence in the producer and the people they hire. The Channel 4 commissioning system has encouraged the growth of a large and diverse independent sector, which now makes programmes for all the UK’s broadcasters.

Channel 4 and other broadcasters use the ‘full funding model’ to commission programmes. This means that the production costs are paid up-front. The system enables the independent producer to receive a modest profit, but without having to take a financial risk.

Small independent production companies (of which there are over 1000 in the UK) have had a good record of making excellent low-budget innovative and creative one-offs. Where a programme is big-budget or needs (risky) heavy investment over a number of years, however, the ‘full funding model’ works less well. A larger media organisation is able to wait for profits, write off failures and exploit intellectual property rights more effectively.

The production companies featured in this episode are representative of the full range of independent production. At one end of the spectrum is Wildfire, the producers of ‘The Time Team’, who are the kind of ‘passionate specialists’ that Channel 4’s commissioning process has supported throughout its history, at the other end, Endemol, maker of ‘Big Brother’ is so large that it is no longer technically an independent.

This programme should give media students an insight into the industry that they might one day enter. The fact that Channel 4 broadcasts a very high percentage of their favourite programmes and has pioneered many of their favourite TV genres will also be appreciated.

Videoblogging und syndication:

http://www.antisnottv.net

http://www.pspvideo9.com/pspcasting.html

http://www.kedora.net/

Videoblogging feeds

http://www.mefeedia.com/feeds/

http://del.icio.us/tag/antfeeds/

http://groups.yahoo.com/group/videoblogging/

Videoblogging und ads

http://www.obttv.com/

Whats next?

http://www.videora.com/