Post Magazine

September 2012

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editor's note H By RANDI ALTMAN EDITOR-IN-CHIEF The evolution of the Web series ave you watched a Web show yet? If the answer is no, within the next 12 months, your answer is likely to be different. Web series have evolved to the point where they are no longer just looked at as a way for hopeful produc- ers to show their wares, or aspiring filmmakers to learn their craft, although there is still a bit of that. Now we have big names, like Jerry Seinfeld, who find that creating for the Web offers a lot more control of your project and the ability to be uber-creative — very low budgets, or none at all, help foster creativity. For Seinfeld, who doesn't have to worry about budgets, it's just plain fun, but that doesn't mean he doesn't take it seriously. According to a story on, he says, "I find you have to be more respectful of people's attention on the Internet than you do on TV. The Internet is a very personal medium, TV is not as personal." His Web series, Comedians in Cars Getting Coffee, is Jerry and friends, like Ricky Gervais and Alec Baldwin, riding around chatting. And it works. You feel like you are in the car with them — thanks to a GoPro Hero camera attached to the dashboard. You will also notice that the quality of many Web series are pretty darn good; some are being shot with Canon 5D/7Ds, Reds and Alexas (see my feature on page 28 for more). And they are POST SCRIPT A chat with Avid CEO Gary Greenfield J ust prior to IBC, I had a chance to speak with Avid CEO Gary Greenfield, who has By MARC LOFTUS SENIOR EDITOR picked up some added responsibilities following the departure of COO Kirk Arnold in July, and the divestiture of the company's consumer business shortly before that. Greenfield wanted to focus on the company's new vision and direction, as well as shed some light on the Avid's plans for the annual IBC show. Several years back, Avid had pulled its pres- ence from IBC, but when Greenfield joined the company, just under five years ago, he reinsti- tuted having a formal presence at the conven- tion in Amsterdam. "IBC is an important show for us and one of the reasons we put that back in place was because the European market is very impor- tant to Avid," he notes. "Even though NAB and IBC both have 'broadcast' in their names, IBC is clearly a broadcaster/media enterprise-cen- tric show, with a bit of a different blend than NAB. We will be there and will be talking about our solutions for the media enterprise." 2 Post • September 2012 He points to the role Avid played for NBC during the recent London Olympics, providing both broadcast and streaming solutions. "The types of things we are going to be talking about at IBC are multi-platform deliv- ery solutions: our enterprise Sphere solution, [and] what we refer to as 'breaking down the walls of the newsroom.' We'll be reinforcing those messages and, of course, reinforcing that…when it comes to the creation of con- tent, particularly creative content, Avid is there to support you." Selling off its consumer business, says Greenfield, allows Avid to more strongly focus on media enterprise and pro customers. As a more streamlined company, he says, it didn't make sense to have both CEO and COO posi- tions. As such, he's picking up much of the responsibilities Arnold previously held. "It's a lot more meetings and a little bit more travel," he notes. "I love visiting the cus- tomer, so it's a mixed blessing. There's more to do, but it's great fun." being shot by talent who are also working on films and broadcast television. One of those people is Dave Frederick, SOC, ICG, who has worked as a camera operator or Steadicam operator on films such as Night of the Living Dead and Driving Miss Daisy, and TV shows like Alias, Sons of Anarchy and Jane By Design. "I have shot a few Web series," he reports. "I operated on the NBC TV Web series Heroes with 35mm film cameras on Techno cranes. I though that was an amazing expense, but it was also full union and paid real wages." He's also donated his time for friends using Sony EX3 cameras, Panasonic's AF100 and the like. "Web series are just the tip of the iceberg in the future of Internet program delivery, " he shares. "Web series are the new white bread in the Internet bakery," says Mike Feuer, partner at NYC's Mindsmack. "People have been baking them for years and it is clear that as a testing ground for programs, there is nothing like it. You also get instant feedback from your audience." He points out another aspect of Web series — messaging for brands. Mindsmack recently provided post production and finishing on a Web series for Lexus that runs on MSN as branded entertainment. "A win-win for all par- ties concerned," he says. EDITORIAL Senior Editor/Director of Web Content (516) 376-1087 MARC LOFTUS RANDI ALTMAN Editor-in-Chief (516) 797-0884 CHRISTINE BUNISH Film& Video JENNIFER WALDEN Audio European Correspondent BOB PANK DANIEL RESTUCCIO West Coast Bureau West Coast Blogger/Reporter BARRY GOCH IAIN BLAIR Film MICHAEL VIGGIANO Art Director ADVERTISING NATASHA SWORDS VP, Marketing (818) 291-1112 (818) 291-1153 cell: (818) 472-1491 MARI KOHN Director of Sales Eastern & Intl Sales Manager (631) 274-9530 cell (516)410-8638 GARY RHODES SUBSCRIPTIONS (818) 291-1158 620 West Elk Ave, Glendale, CA 91204 (800) 280 6446 CUSTOMER SERVICE MIKE TABIZON Account Manager (818) 291-1180 (781) 255-0625 • (818) 291-1153 REPRINTS Reprints LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446 WILLIAM R. RITTWAGE President / CEO SEE US ON Post Magazine is published by Post, LLC, a COP communications company. 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