May 12th, 2008 | Media 2.0, Social Media | No Comments
Like many others, I woke up this morning to Twitter messages about a disaster in China: a magnitude 7.8 (at last report) earthquake in the southwest, with thousands of people either dead or injured. Much like the forest fires in California last fall and other recent news events, Twitter became one of the main sources of on-the-ground reporting — even before CNN started picking up what was happening, and with more personal detail. During such times, Twitter seems like a crowd-sourced reporting tool, much like what NowPublic.com has created but with cellphones and 140 character messages as the medium.
In any disaster, one of the first things that people look for — not just journalists, but readers too — is the eyewitness account, the first-person description, the man on the scene. Whenever something like the earthquake happens, thousands of editors and producers at newspapers, radio programs and TV networks clog the phones trying to reach someone, anyone, who can provide a personal account: they call homes, schools, stores, friends, distant relatives. What was it like? Where were you when it happened? What happened next?
Twitter is able to supply all of those things — and it’s also self-directed. People can post messages about whatever they wish, rather than answering only the questions that a producer asks them. In the study I wrote about recently that looked at Twitter and Facebook and Wikipedia as disaster reporting tools, one of the comments about the California fires was that the media focused on celebrities and how they were affected, but Twitter and other sources gave a more complete version of events and how they were affecting everyone.
Obviously, 140-character messages don’t take the place of reported stories that check facts and determine what exactly happened, or pull together various reports into a coherent whole. But they are a compelling part of that story — and journalists who know how to take advantage can produce something much more complete with the help of all those Twitter reporters in the field. Journalism has been called “the first draft of history,” — and now the people putting together that draft have even more help in getting it right the first time.
May 4th, 2008 | Media 2.0, Social Media | No Comments
There’s a fascinating piece in the New York Times looking at IDG — the world’s largest publisher of tech-related magazines — and how it has been transformed from a print entity into what has increasingly become an online-only entity:
“In 2002, 86 percent of the revenue from I.D.G.’s publications came from print and 14 percent online. These days, 52 percent of the revenue is from online ads, while 48 percent is from the print side.”
That’s a remarkable shift. In some cases, magazines continue to be printed but come together primarily online, and in other cases — such as InfoWorld — the print magazine has been closed completely and the publication is solely online. And the business is better:
“Today, I.D.G. says, the InfoWorld Web site is generating ad revenue of $1.6 million a month with operating profit margins of 37 percent. A year earlier, when it had both print and online versions, InfoWorld had a slight operating loss on monthly revenue of $1.5 million.”
There is a dark lining to the silver cloud, however — the story says that IDG’s staff levels are 50-per-cent below where they were when the transformation started:
“By then, the editorial staff was down to its current level of 17 people, about half the number in 2002, and way below the peak of nearly 100 during the technology spending boom of the late 1990s.”
Still, a fascinating tale of one publisher that took the bull by the horns and made the change deliberately. As former editor Stewart Alsop says near the end of the piece: “What’s happening at I.D.G. is a fairly accurate map for every other publishing organization. Get over it, it’s going to happen.”
Apr 30th, 2008 | Media 2.0, Social Media | No Comments
According to a study that is to be published in New Scientist magazine tomorrow, Facebook and Wikipedia are better at getting crucial information out during emergencies than either government agencies, emergency services — or the traditional media. The study, done by researchers at the University of Colorado, looked at how Facebook and Wikipedia were used by students during the Virginia Tech shootings, and how Twitter and other social media were used during the forest fires in California. As the Telegraph story describes it:
“During the Virginia shootings, they found the emergency services were slow to update their reports on the latest situation and the names of those killed. Within just 90 minutes of the first deaths, however, a web page accurately describing the events appeared on Wikipedia.”
The study found that dyring the fires in California in October, web users on various websites and those using Twitter were keeping their friends and neighbours informed of their whereabouts and the location of the fires on a minute by minute basis, and were also posting links to Google Maps with which others could track the progress of the fire and mark areas where schools and businesses were shut down as a result of the threat. The media weren’t so useful, however:
“The mass media were unreliable… as they struggled to access remote areas from which website users with an internet connection could easily report. Media sites also focused on the ’sensational’, such as fires close to celebrities’ homes, which distorted the overall picture.”
Some interesting lessons there, for both emergency services and the media, about information delivery on the Web.
Apr 27th, 2008 | Media 2.0, Social Media | 2 Comments
Clay Shirky, who teaches and speaks about “new media,” has posted the transcript of a speech he gave at the recent Web 2.0 conference, in which he talks about how TV as a whole is effectively a societal response to a surplus of leisure time — and how much better it would be if those excess brain cycles were used for something valuable, such as contributing to Wikipedia or other forms of “social media.” I really wish that Clay hadn’t written this particular speech. Why? Mostly because then there would still have been time for *me* to write it.
I must admit, the part about the gin never really occurred to me (go ahead and read the speech — I’ll wait). But the rest of it is right on track. Particularly the part where he describes the four-year-old looking behind the TV for the mouse. I’ve spoken to a number of groups about social media, and I always use my three daughters as examples: the oldest uses Facebook more than she watches TV, the middle one loves interactive fiction-writing sites like Gaia Online, and with the youngest it’s Club Penguin and Webkinz. To them, the most interesting kinds of media are interactive media.
Not surprisingly, more than one commenter among the dozens who have responded on BoingBoing’s post about Shirky (since his blog doesn’t have comments) argues that the author is guilty of social-media triumphalism, and that he is merely stating a preference for time-wasting with Wikipedia or Lolcatz as opposed to TV. One commenter says that his speech is like saying “now that we have Oranges no sane person is going to eat Apples, and anyone who grows Apples doesn’t understand how f’n juicy and delicious Oranges are… what a bunch of twits! amiright?”
This point has some truth to it. For every person who thinks that World of Warcraft builds leadership skills and watching TV is one step above drooling and whittling, there is another who thinks that CSI is gripping drama, and anyone on WoW is a brain-damaged geek living in his mom’s basement. There are plenty of ways for human beings to zone out and get very little accomplished — just look at golf, for example (or poker). But Shirky’s point is still a good one, I think: namely, that social or interactive media, however lame or goofy, has an added quality that sitting in front of a box does not. I’ll go along with that.
Apr 22nd, 2008 | Media 2.0, Social Media | No Comments
After more than a year, an independent Web-based movie venture called Filmaka is finally out of “beta.” The project has a couple of high-profile backers: indie film producer Deepak Nayar (responsible for movies such as Bend It Like Beckham and Buena Vista Social Club) and former Fox TV network honcho Sandy Grushow, who gave the world shows such as The OC, 24, The X-Files and Buffy The Vampire Slayer. Grushow was also one of the network executives behind American Idol, and says Filmaka is based on a similar premise.
The founders say they want to find young or up-and-coming TV producers and filmmakers and in some cases to help them get major studio or network deals. The site already has a stable of more than 40 Web-based shows that it plans to run on networks such as YouTube, and has been conducting a kind of Web-based talent search with a contest that ends on April 28 — the winner, who will be chosen by a jury including David Lynch, Wim Wenders, Werner Herzog and Neil LaBute, will get as much as $3-million in financing to produce a movie for theatrical release.
That’s not the only contest Filmaka has been sponsoring either: the venture has also been running a sitcom competition with the cable channel FX, which will see the winner get $40,000 to shoot a 15 to 20-minute pilot for a potential FX television show, and the site has a documentary competition and a “branded entertainment” competition. Fox ran a similar kind of contest with MySpace, but didn’t turn either of the winners into a pilot. Jerry Zucker of NBC has spoken in the past about how expensive — and in many cases, ultimately futile — the current pilot-oriented TV production process can be.
More than 3,000 submissions have been received from aspiring filmmakers in more than 90 countries, and all of the submissions can be streamed from the Filmaka.com website. Visitors can choose to see entries by category (documentary, TV, feature etc.) or only the ones that have advanced to the jury level. Submissions include everything from animated shorts featuring “claymation”-style characters to sitcom-style comedies, and at least one Canadian filmmaker has several entries in different levels of the competition: Terry Miles has submitted a feature film called Lost and Found and also has an entry in the TV-pilot contest called The Secret Life of Amanda Jones, about a twentysomething college student who is also a vampire.
In an interview with Wired magazine, Grushow said that after 20 years in the network business, he wasn’t sure that any independent or unsigned filmmakers could produce content that he might be interested in, but he says his eyes were opened after Filmaka started the competition: “I was astonished at the quality level people were capable of creating … at such a low cost. To me, that represented a game-changer.” In Filmaka, he said, the partners hope create what amounts to “a studio with essentially no overhead.” And there’s already Canadian content.
