Narration of the inception of my fairytale fantasy - Here's the launch of another podcast campaign with another electronic voice, enjoy!
Showing posts with label Multimedia. Show all posts
Showing posts with label Multimedia. Show all posts
Sunday, October 3, 2021
Monday, March 16, 2020
Monday, January 20, 2020
Sunday, December 1, 2019
The Words of Emily Logan Podcast No 1, In Between School Performances & Excitement!
For the multimedia lovers I created my first podcast introducing an excerpt from The Words Of Emily Logan, my recently self-published book at the global internet! Get a taste by a single voice narration of my romantic drama!
The Words of Emily Logan has gone into distribution and is already up in Amazon as a paperback and ebook as well! Get the book here: https://amzn.to/2kC2oS3
The Words of Emily Logan has gone into distribution and is already up in Amazon as a paperback and ebook as well! Get the book here: https://amzn.to/2kC2oS3
Wednesday, July 23, 2014
Fan Club Websites (Majorly Hollywood Themed)
A fansite, fan site, fan blog or fanpage is a website created and maintained by a fan or devotee interested in a celebrity, thing, or a particular cultural phenomenon. The phenomenon can be a book, television show, movie, comic, band, sports team, video game, or the like.
Fansites may offer specialized information on the subject (e.g., episode listings, biographies, storyline plots), pictures taken from various sources, the latest news related to their subject, media downloads, links to other, similar fansites and the chance to talk to other fans via discussion boards. They often take the form of a blog, highlighting the latest news regarding the fansite subject. They often include galleries of photos and/or videos of the subject, and are often "affiliates" with other fansites.
Fanlistings are another common type of fansite, though they are much simpler than general fansites, and are designed simply to list fans of a certain subject. In fact, many do not contain much information on the subject at all, aside from a small introduction. They are generally made with the thought that visitors will already have knowledge on the subject. However, several are a part of a bigger fansite, used to amplify the fanbase's experience. Most fanlistings are unofficial.
Many sites utilize other aspects as well, such as communities and social networking tools to augment the experience further. Indeed, by the early 2010s, independently run fansites had largely been superseded by Facebook groups.
Most fansites are unofficial, but a few are officially endorsed, where the subject will supply material and reimbursement for the expense and bother of running the site. To state that they are unofficial, many fan webmasters put a disclaimer on a visible place on the website, which sometimes also includes the copyright of the site. Many celebrities prefer to create and run their own sites, in order to control the content and perhaps retail their personal views. They employ their own webmaster and own the copyright.
Motivations
A study suggests that unofficial fansites are often built as an alternative to the "hard sell" approach of official fansites that carry commercial messages. A classification system developed by Wann breaks down eight motives of fandom. These motives, particularly those related to group affiliation and self-esteem, are a driving factor in the creation of unofficial fansites.
Satisfying the social psychology needs of group affiliation and self-esteem by visiting fansites, and in particular participating in the community aspects of fansites, appear to serve to increase fan behavior.
Research of inter-personal attraction indicates that people generally prefer to socialize with those who are similar to them. For example, sports fans fulfill this need by attending sporting events in person. In the online world, fans fulfill this need by building and/or participating in online fansites.
Many fans prefer to visit unofficial fansites for fan-related services, but still prefer an official fansite as the primary source for accurate information since it affords the closest affiliation with the target itself.
(Source Wikipedia)
P.S. Importance of such websites is relevant with a non-profit, unofficial web page directly embracing multiple object oriented techniques in terms of surpassing 1-dimensional networks and become organic enough in the 21st century World Wide Web. A reality that makes websites free and glorious, hence surpassing their etiquette limits (fan clubs).
Fansites may offer specialized information on the subject (e.g., episode listings, biographies, storyline plots), pictures taken from various sources, the latest news related to their subject, media downloads, links to other, similar fansites and the chance to talk to other fans via discussion boards. They often take the form of a blog, highlighting the latest news regarding the fansite subject. They often include galleries of photos and/or videos of the subject, and are often "affiliates" with other fansites.
Fanlistings are another common type of fansite, though they are much simpler than general fansites, and are designed simply to list fans of a certain subject. In fact, many do not contain much information on the subject at all, aside from a small introduction. They are generally made with the thought that visitors will already have knowledge on the subject. However, several are a part of a bigger fansite, used to amplify the fanbase's experience. Most fanlistings are unofficial.
Many sites utilize other aspects as well, such as communities and social networking tools to augment the experience further. Indeed, by the early 2010s, independently run fansites had largely been superseded by Facebook groups.
Most fansites are unofficial, but a few are officially endorsed, where the subject will supply material and reimbursement for the expense and bother of running the site. To state that they are unofficial, many fan webmasters put a disclaimer on a visible place on the website, which sometimes also includes the copyright of the site. Many celebrities prefer to create and run their own sites, in order to control the content and perhaps retail their personal views. They employ their own webmaster and own the copyright.
Motivations
A study suggests that unofficial fansites are often built as an alternative to the "hard sell" approach of official fansites that carry commercial messages. A classification system developed by Wann breaks down eight motives of fandom. These motives, particularly those related to group affiliation and self-esteem, are a driving factor in the creation of unofficial fansites.
Satisfying the social psychology needs of group affiliation and self-esteem by visiting fansites, and in particular participating in the community aspects of fansites, appear to serve to increase fan behavior.
Research of inter-personal attraction indicates that people generally prefer to socialize with those who are similar to them. For example, sports fans fulfill this need by attending sporting events in person. In the online world, fans fulfill this need by building and/or participating in online fansites.
Many fans prefer to visit unofficial fansites for fan-related services, but still prefer an official fansite as the primary source for accurate information since it affords the closest affiliation with the target itself.
(Source Wikipedia)
P.S. Importance of such websites is relevant with a non-profit, unofficial web page directly embracing multiple object oriented techniques in terms of surpassing 1-dimensional networks and become organic enough in the 21st century World Wide Web. A reality that makes websites free and glorious, hence surpassing their etiquette limits (fan clubs).
Wednesday, April 16, 2014
Thursday, March 27, 2014
Monday, March 17, 2014
Thursday, March 13, 2014
Wednesday, March 12, 2014
Sunday, March 9, 2014
Saturday, March 8, 2014
Thursday, March 6, 2014
Music Workstation by Wikipedia!
A music workstation is an electronic musical instrument providing the facilities of:
Examples of early music workstations included the New England Digital Synclavier and the Fairlight CMI.
Other products also combined synthesis and sequencing. For instance the Sequential Circuits Six-Trak provided this possibility. The Six-Trak was a polyphonic analog synthesizer, which featured an on-board six-track sequencer.
Still other products focused on combining sampling and sequencing. For instance the E-mu Emulator models, first introduced in 1982, combined sample memory (read from floppy disks) with a simple sequencer in the initial model, and an 8-track sequencer in later models.
The biggest change in the industry was the development of the MIDI standard in 1983 for representing musical note sequences. For the first time, sequences could be moved from one digitally controlled music device to another.
In the late 1980s, on-board MIDI sequencers began to appear more frequently on professional synthesizers. The Korg M1 (released 1988) was the first widely known and popular music workstation, and became the world's best-selling digital keyboard synthesizer of all time. During its six-year production period, more than 250,000 units were sold.
The concept of the workstation mutated around mid-1990s by the emergence of groove machine-concept
birthed in mid-1980s - a keyless version of a workstation, still with a
self-contained sound source and sequencer, mostly aimed at dance.
Again, nowadays they also feature a sampler. The groove machines were realized in 1980s (ex. Linn 9000 (1984), SCI Studio 440 (1986), Simmons SDX (1987), well known E-mu SP-12/SP-1200 (1985/1987) and Akai MPC60 (1988)), and finally the concept have been widely accepted. Then in mid 1990s, Roland entered to the hype, with the MC-303, and also Korg and Yamaha followed suit. Korg created the much-used Electribe series.
Akai developed and refined the idea of the keyboard-less workstation, with the Music Production Center series of sampler workstations. The MPC breed of sampler freed the composer from the rigidity of step sequencing which was a limitation of earlier grooveboxes.
Another path of music product development that started with the feature set of music workstations is to provide entirely software-based products, using virtual instruments. This is the concept of the digital audio workstation, and many of these products have emulated the multitrack recording metaphors of sequencers first developed in the music workstations.
Open Labs introduced the Production Station in 2003, which changed the relationship of the music workstation and the personal computer from a model where the music workstation interfaces to the PC into one where the music workstation is a PC with a music keyboard and a touch screen display.
A variation on Open Labs' approach, Korg released the Korg OASYS in 2005. OASYS housed inside a keyboard music workstation housing a computer running a custom operating system built on the Linux kernel. OASYS was an acronym for Open Architecture SYnthesis Studio, underscoring Korg's ability to release new capabilities via ongoing software updates. OASYS not only included a synthesizer, sampling, and a sequencer, but the ability to digitally record multi-track audio. OASYS was discontinued in 2009, and Korg Kronos, an updated version built on the same concept, was introduced in January, 2011.
- a sound module,
- a music sequencer and
- (usually) a musical keyboard.
History
The concept of a music sequencer combined with a synthesizer originated in the late 1970s with the combination of microprocessors, mini-computers, digital synthesis, disk-based storage, and control devices such as musical keyboards becoming feasible to combine into a single piece of equipment that was affordable to high-end studios and producers, as well as being portable for performers. Prior to this, the integration between sequencing and synthesis was generally a manual function based on wiring of components in large modular synthesizers, and the storage of notes was simply based on potentiometer settings in an analog sequencer.Examples of early music workstations included the New England Digital Synclavier and the Fairlight CMI.
Key technologies for the first generation
- Low-cost computer hardware
- Leveraging the technology of personal computers, adding a microprocessor enabled complex control functions to be expressed in software rather than wiring. In 1977, the Sequential Circuits Prophet-5 and other polyphonic synthesizers had used microprocessors to control patch storage and recall, and the music workstations applied it to control sequence storage and recall as well. The Fairlight used a dual Motorola 6800 configuration, while the Synclavier used a mini-computer called the ABLE.
- Digital synthesis
- While it was possible to create a music workstation with digitally controlled analog synthesis modules, few companies did this, instead seeking to produce new sounds and capabilities based on digital synthesis (early units were based on FM synthesis or sample playback).
- Disk-based storage
- Again leveraging the technology of personal computers, music workstations used floppy disks to record patches, sequences, and samples. Hard disk storage appeared in the second generation.
- Control devices
- In a music workstation, the keyboard was not directly connected to the synthesis modules, as in a Minimoog or ARP Odyssey. Instead, the keyboard switches were digitally scanned, and control signals sent over a computer backplane where they were inputs to the computer processor, which would then route the signals to the synthesis modules, which were output devices on the backplane. This approach had been used for years in computer systems, and allowed the addition of new input and output peripherals without obsoleting the entire computer. In the case of the music workstations, the next output devices to be added were typically computer terminal displays (some with graphics), and in the case of the Fairlight, the next input device was a light pen for "drawing" on the display screen.
Second generation music workstations
By 1982, the Fairlight CMI Series II represented another advance as it now offered more RAM-based sample memory than any other system with an improved sample rate, and in the Series III (1985) changed from 8-bit to 16-bit samples. The Synclavier introduced hard-disk based sampling in 1982, storing megabytes of samples for the first time.Other products also combined synthesis and sequencing. For instance the Sequential Circuits Six-Trak provided this possibility. The Six-Trak was a polyphonic analog synthesizer, which featured an on-board six-track sequencer.
Still other products focused on combining sampling and sequencing. For instance the E-mu Emulator models, first introduced in 1982, combined sample memory (read from floppy disks) with a simple sequencer in the initial model, and an 8-track sequencer in later models.
The biggest change in the industry was the development of the MIDI standard in 1983 for representing musical note sequences. For the first time, sequences could be moved from one digitally controlled music device to another.
In the late 1980s, on-board MIDI sequencers began to appear more frequently on professional synthesizers. The Korg M1 (released 1988) was the first widely known and popular music workstation, and became the world's best-selling digital keyboard synthesizer of all time. During its six-year production period, more than 250,000 units were sold.
Key technologies for the second generation
- MIDI
- As mentioned above, MIDI data represents pitches, velocities, and controller events (e.g. pitch bend, modulation wheel). MIDI information could be used on the backplane that linked the elements of the workstation together, connecting the input devices to the synthesizers, or it could be sent to another device or received from another device.
- Display technologies
- Music workstations adopted the most effective input/output devices available for their price range, since there were complex control settings to display, complex waveforms, and complex sequences. The lower-end devices began to use LED displays that showed multiple lines of characters and later simple graphics, while the higher-end devices began to adopt personal computers with graphics as their front-ends (the Synclavier PostPro used an Apple Macintosh).
- Large memory banks
- Music workstations soon had megabytes of memory, located on large racks of cards.
- Modular software
- Music workstations had software that was organized around a set of common control functions, and then a set of options. In many cases, these options were organized as 'pages'. The Fairlight was known for its "Page R" functions which provided real-time composition in a graphical form which was similar to that later used on drum machines such as the Roland TR-808. The Synclavier offered music notation.
- Digital signal processing
- This enabled the music workstation to generate effects such as reverb or chorus within its hardware, rather than relying on external devices.
- SMPTE
- Since the primary users of the high-end workstations were film composers, the music workstations added hardware and software to generate SMPTE timecode, which is a standard in the motion picture industry. This allowed one to generate events that were matched to scenes and cuts in the film.
Third generation music workstations
Although many music workstations have a keyboard, this is not always the case. In the 1990s, Yamaha, and then Roland, released a series of portable music workstations (starting with the Yamaha QY10). These are sometimes called walkstations.Akai developed and refined the idea of the keyboard-less workstation, with the Music Production Center series of sampler workstations. The MPC breed of sampler freed the composer from the rigidity of step sequencing which was a limitation of earlier grooveboxes.
Key technologies for the third generation
- Low-cost, high-capacity memory
- By 1995, a music workstation might have 16 to 64 megabytes of memory in a few chips, which had required a rack of cards in 1985.
- Sample libraries
- While a second-generation workstation could be sold with just a few sounds or samples and the ability for the owner to create more, by 1995 most workstations had several additional sample sets available for purchase on ROM, and an industry had been created for third-party sample libraries. In addition, there were now standard formats for sound samples to achieve interoperability.
- Battery power
- Since music workstations were now used by wide range of performers, down to individual dance music DJ's and even street performers, portable designs avoided power-intensive components such as disk storage and began to rely on persistent memory and later flash-memory storage.
- Interoperability with personal computers
- Initially through custom interfaces and later USB standards.
Modern music workstations
Yamaha, Roland and Korg now have sampling as a default option with the Yamaha Motif line (introduced 2001), the Roland Fantom series (introduced 2001) and the Korg Triton (introduced 1999), Korg OASYS, and Korg M3 Workstations have a fairly large screen to give a comprehensive overview of the sound, sequencer and sampling options. Since the display is one of the most expensive components of these workstations, Roland and Yamaha initially chose to keep costs down by not using a touch screen or high-resolution display, but have added such in later models.Another path of music product development that started with the feature set of music workstations is to provide entirely software-based products, using virtual instruments. This is the concept of the digital audio workstation, and many of these products have emulated the multitrack recording metaphors of sequencers first developed in the music workstations.
Open Labs introduced the Production Station in 2003, which changed the relationship of the music workstation and the personal computer from a model where the music workstation interfaces to the PC into one where the music workstation is a PC with a music keyboard and a touch screen display.
A variation on Open Labs' approach, Korg released the Korg OASYS in 2005. OASYS housed inside a keyboard music workstation housing a computer running a custom operating system built on the Linux kernel. OASYS was an acronym for Open Architecture SYnthesis Studio, underscoring Korg's ability to release new capabilities via ongoing software updates. OASYS not only included a synthesizer, sampling, and a sequencer, but the ability to digitally record multi-track audio. OASYS was discontinued in 2009, and Korg Kronos, an updated version built on the same concept, was introduced in January, 2011.
Evaluation of a music workstation
While advances in digital technology have greatly reduced the price of a professional-grade music workstation, the 'time cost' of learning to operate a complex instrument like this cannot be underestimated. Hence, product selection is critical, and is typically based upon:- Ease of use
- Number of tracks in the sequencer
- Expansion options and modularity
- Size of user and support community
- Support for standards such as MIDI, SMPTE, Internet, etc.
- Reliable functioning
- Adaptation to most requirements of music production.
Wednesday, March 5, 2014
WebTV by Wikipedia!
Web television (abbreviated web TV) is original television content produced for broadcast via the World Wide Web.
Web television content includes web series such as Husbands (2011–present); original miniseries such as Dr. Horrible's Sing-Along Blog (2008); animated shorts such as those of Homestar Runner; and exclusive video that supplements conventional television broadcasts.
Some major distributors of web television are YouTube, Myspace, Newgrounds, Blip.tv, and Crackle.
Some examples of web television production companies are: Next New Networks, Vuguru, Revision3, and Generate LA-NY.
In 2008, the International Academy of Web Television (an organisation headquartered in Los Angeles) formed with the mission to organize and support web television authors, actors, producers, and executives. The organization administers the selection of winners for the Streamy Awards.
In 2013, Netflix made history for earning the first Primetime Emmy Award nominations for web television web series House of Cards, Arrested Development, and Hemlock Grove at the 65th Primetime Emmy Awards.
According to Zakarin, at its height the site received over 100,000 hits a day. The site earned one of the original Webby Awards. However, the business was unable to generate sufficient revenue The site had competitors such as The East Village. Zakarin sold his interest in 1996 to investors who formed American Cybercast and was later fired. Zakarin produced another comic soap, Grape Jam, before returning to television and film (notably producing the Shatner-Nimoy dialogue Mind Meld before returning to the Internet with Soup of the Day and Roommates. The Spot continued alongside other American Cybercast web series, notably the first sci-fi series Eon-4 and The Pyramid, until the company fell into bankruptcy in 1997.
In January 1999, Showtime licensed the animated sci-fi web series WhirlGirl, making it the first independently produced web series licensed by a national television network. A month later, the series, created by David B. Williams and produced by his Visionary Media studio, premiered on Showtime in a first-ever simultaneous web/telecast. The WhirlGirl character went on to appear occasionally on Showtime, hosting a “Lethal Ladies” programming block, for example, but spent most of her time online, appearing in 100 webisodes.
In 1999, Santa Monica based Television Internet premiered the eight-minute weekly series Muscle Beach. It was a sitcom, news and fitness program in one, viewable for free with the just introduced Windows Media Player. The series lasted three seasons.
In 2000, The Raven started Daytona Beach Live. The station showed video about life, events, and attractions in the Daytona Beach area for up to 17,000 viewers.
Other early web television pioneers included Harold O'Bryant Jr., who was inspired by a CNN interview with Ted Turner that sparked the creation of webcentraltv.com in 2002, as well as icebox.com, Digital Entertainment Network, Shockwave, pop.com, and cyberserial.com.
In contrast, the web series Sanctuary, starring actor/producer Amanda Tapping, cost $4.3 Million to produce. Both Sanctuary and Prom Queen were nominated for a Daytime Emmy Award. Award-winning producer/director Marshall Herskovitz created Quarterlife, which debuted on MySpace and was later distributed on NBC. Meanwhile, IronSink produced Roommates, the second original series hosted by MySpace. Roommates ran for two seasons, was sponsored by companies such as Ford, and was known for its sophisticated product placement. Felicia Day created and starred in the independent comedy web series The Guild, which won the 2007 YouTube Video Award for Best Series.
Established creators also started producing high profile original web series in 2008. Joss Whedon created, produced and self-financed Dr. Horrible's Sing-Along Blog starring Neil Patrick Harris and Felicia Day. Big Fantastic wrote and produced Foreign Body, a mystery web series that served as a prequel to Robin Cook's novel of the same name. Beckett and Goodfried founded a new Internet studio, EQAL, and produced a spin-off from "lonelygirl15" entitled "LG15: The Resistance". Dedicated media coverage of the web television space debuted with organizations such as GigaOm's NewTeeVee and Tubefilter News. Mainstream press also began converate. In the UK, KateModern ended its run on Bebo. That site also hosted a six-month-long reality/travel show, The Gap Year, produced by Endemol UK, who also made Kirill, a drama for MSN.
Australia emerged separate market for online series. Most notable was the made-for-MySpace series the MySpace Road Tour produced by FremantleMedia Australia. The first series, which ran from July to October 2008 drew the MySpace audience and the show received positive press. During MipCom in October 2008 MySpace announced plans for a second series and indicated that it was in talks with cable network Foxtel to distribute series 1 on network television. Additionally MySpace spoke of their plans to produce versions of the MySpace Road Tour in other countries.
The International Academy of Web Television formed in 2009, followed by the first awards program for the web television industry, called the Streamy Awards.
The emerging potential for success in web video caught the attention of top entertainment executives in America, including former Disney executive and current head of the Tornante Company, Michael Eisner. Torante's Vuguru subdivision partnered with Canadian media conglomerate Rogers Media on October 26, securing plans to produce upwards of 30 new web shows a year. Rogers Media agreed to help fund and distribute Vuguru's upcoming productions, thereby solidifying a connection between old and new media.
Web television content includes web series such as Husbands (2011–present); original miniseries such as Dr. Horrible's Sing-Along Blog (2008); animated shorts such as those of Homestar Runner; and exclusive video that supplements conventional television broadcasts.
Some major distributors of web television are YouTube, Myspace, Newgrounds, Blip.tv, and Crackle.
Some examples of web television production companies are: Next New Networks, Vuguru, Revision3, and Generate LA-NY.
In 2008, the International Academy of Web Television (an organisation headquartered in Los Angeles) formed with the mission to organize and support web television authors, actors, producers, and executives. The organization administers the selection of winners for the Streamy Awards.
In 2013, Netflix made history for earning the first Primetime Emmy Award nominations for web television web series House of Cards, Arrested Development, and Hemlock Grove at the 65th Primetime Emmy Awards.
History
1994 to 2000: Pioneers
In 1995, New York advertising creative Scott Zakarin convinced his employers Fattal and Collins to finance an online television drama along the lines of the contemporary television drama Melrose Place. The Spot became the first episodic fiction website, the first web soap opera. Fattal and Collins asked their Vice President, Sheri Herman, to obtain venture capital to finance it, because it was draining the resources of this boutique agency. Herman raised 7 million in a round led by Intel. She brought in advertisers including Visa and Apple to sponsor both The Spot and additional pieces through via banner ads and product placement. This was the first time advertising sponsored novel fictional content on the web. The Spot featured beautiful actors in a Santa Monica, California beach house called “The Spot”. The characters authored what would be later termed blogs, with movie clips and photos of their current activities. Viewers could post to the site and email the cast to offer advice and became part of the storyline. Audience opinion was used by the writers to shift the plot-lines around.According to Zakarin, at its height the site received over 100,000 hits a day. The site earned one of the original Webby Awards. However, the business was unable to generate sufficient revenue The site had competitors such as The East Village. Zakarin sold his interest in 1996 to investors who formed American Cybercast and was later fired. Zakarin produced another comic soap, Grape Jam, before returning to television and film (notably producing the Shatner-Nimoy dialogue Mind Meld before returning to the Internet with Soup of the Day and Roommates. The Spot continued alongside other American Cybercast web series, notably the first sci-fi series Eon-4 and The Pyramid, until the company fell into bankruptcy in 1997.
In January 1999, Showtime licensed the animated sci-fi web series WhirlGirl, making it the first independently produced web series licensed by a national television network. A month later, the series, created by David B. Williams and produced by his Visionary Media studio, premiered on Showtime in a first-ever simultaneous web/telecast. The WhirlGirl character went on to appear occasionally on Showtime, hosting a “Lethal Ladies” programming block, for example, but spent most of her time online, appearing in 100 webisodes.
In 1999, Santa Monica based Television Internet premiered the eight-minute weekly series Muscle Beach. It was a sitcom, news and fitness program in one, viewable for free with the just introduced Windows Media Player. The series lasted three seasons.
In 2000, The Raven started Daytona Beach Live. The station showed video about life, events, and attractions in the Daytona Beach area for up to 17,000 viewers.
Other early web television pioneers included Harold O'Bryant Jr., who was inspired by a CNN interview with Ted Turner that sparked the creation of webcentraltv.com in 2002, as well as icebox.com, Digital Entertainment Network, Shockwave, pop.com, and cyberserial.com.
2000 to 2005: Streaming
As broadband bandwidth began to increase in speed and availability, delivering high quality video over the Internet became a reality. Web Central TV, YouTube, Vimeo and DailyMotion launched their services to deliver original video. Shows such as Rocketboom appeared and post-dot-com-bust video networks such as ManiaTV!, iSTATION TV and the Ripe Digital Entertainment networks launched. In 2003, The Spot executive producer and head writer Stewart St. John revived the brand for online audiences with a new cast, and created a separate mobile series to air on Sprint PCS Vision-enabled phones. St. John and partner Todd Fisher produced over 2,500 daily videos of the first American mobile phone soap, driving story lines across platforms to the web counterpart, The Spot (2.0). By 2005, St. John-Fisher created and launchd the first online half-hour scripted drama, California Heaven.2006: Independents
In mid-2006, several independent Web series began to achieve popularity, most notably lonelygirl15 (created by Miles Beckett, Mesh Flinders and Greg Goodfried),Soup of the Day (Zakarin and Rob Cesternino), California Heaven (St. John and Todd Fisher) and SamHas7Friends (Big Fantastic). These series were distributed independently, often using online video portals YouTube and Revver. All series acquired audiences in the millions, led by lonelygirl15s over 100 million views during its 26-month run. The series was so successful that it secured a sponsorship deal with Neutrogena. Soup of the Day was later re-crafted and edited as a feature length film, making it the first web series distributed on disc by distribution company Echo Bridge Entertainment. SamHas7Friends was nominated for an Emmy and temporarily removed from the Internet when it was acquired by Michael Eisner. March 2006 also saw the debut of Goodnight Burbank (created and (Hayden Black) as a "webisodic" series. The original series was named one of iTunes best podcasts of 2006. Also hitting the scene during the summer towards the end of the year was Feed Me Bubbe which ended up showcasing that even a Grandmother and Grandson can achieve internet celebrity status.2007: Expansion, interactivity and social networking
In 2007, Beckett and Goodfried followed up their lonelygirl15 success with KateModern, a series which debuted on social network Bebo, and took place in the same fictional universe as lonelygirl15. Big Fantastic created and produced Prom Queen, which was financed and distributed by Michael Eisner's nascent online studio Vuguru, and debuted on MySpace. These web serials highlighted interactivity with the audience in addition to the narrative on relatively low budgets.In contrast, the web series Sanctuary, starring actor/producer Amanda Tapping, cost $4.3 Million to produce. Both Sanctuary and Prom Queen were nominated for a Daytime Emmy Award. Award-winning producer/director Marshall Herskovitz created Quarterlife, which debuted on MySpace and was later distributed on NBC. Meanwhile, IronSink produced Roommates, the second original series hosted by MySpace. Roommates ran for two seasons, was sponsored by companies such as Ford, and was known for its sophisticated product placement. Felicia Day created and starred in the independent comedy web series The Guild, which won the 2007 YouTube Video Award for Best Series.
2008: Hollywood
The Internet continued to grow as a marketing tool and outlet for independent creators to display their work. Web television continued to improve in quality, rivaling network television. Online viewing was becoming less foreign to viewers and creativity flourished. Independent producers gained popularity, demonstrating that web television was a legitimate medium, and that web series would be more than a passing fad. The major networks and studios took notice of the trend, and began to debut their own original series. ABC started the year with the comedy web series "Squeegies," created by Handsome Donkey and produced by digital studio Stage 9. NBC debuted Gemini Division, a science fiction series starring Rosario Dawson, produced and created by Electric Farm Entertainment (the creators of the cult web series Afterworld). Warner Bros. relaunched The WB as an online network beginning with their first original web series, "Sorority Forever", created and produced by Big Fantastic and executive produced by McG. With the rise of studio based web series, MTV announced a new original series created by Craig Brewer that brought together the indie music world and new media expansion.Established creators also started producing high profile original web series in 2008. Joss Whedon created, produced and self-financed Dr. Horrible's Sing-Along Blog starring Neil Patrick Harris and Felicia Day. Big Fantastic wrote and produced Foreign Body, a mystery web series that served as a prequel to Robin Cook's novel of the same name. Beckett and Goodfried founded a new Internet studio, EQAL, and produced a spin-off from "lonelygirl15" entitled "LG15: The Resistance". Dedicated media coverage of the web television space debuted with organizations such as GigaOm's NewTeeVee and Tubefilter News. Mainstream press also began converate. In the UK, KateModern ended its run on Bebo. That site also hosted a six-month-long reality/travel show, The Gap Year, produced by Endemol UK, who also made Kirill, a drama for MSN.
Australia emerged separate market for online series. Most notable was the made-for-MySpace series the MySpace Road Tour produced by FremantleMedia Australia. The first series, which ran from July to October 2008 drew the MySpace audience and the show received positive press. During MipCom in October 2008 MySpace announced plans for a second series and indicated that it was in talks with cable network Foxtel to distribute series 1 on network television. Additionally MySpace spoke of their plans to produce versions of the MySpace Road Tour in other countries.
2009: Network interest
The International Academy of Web Television formed in 2009, followed by the first awards program for the web television industry, called the Streamy Awards.
The emerging potential for success in web video caught the attention of top entertainment executives in America, including former Disney executive and current head of the Tornante Company, Michael Eisner. Torante's Vuguru subdivision partnered with Canadian media conglomerate Rogers Media on October 26, securing plans to produce upwards of 30 new web shows a year. Rogers Media agreed to help fund and distribute Vuguru's upcoming productions, thereby solidifying a connection between old and new media.
2010-2011 Cross-channel distribution
In the last eighteen months web shows have been picked up by networks, including Childrens Hospital, Sanctuary, Web Therapy, and Goodnight Burbank.
2012-present: Taking steps into the mainstream
With the advent of shows such as House of Cards and the revival of Arrested Development on Netflix, the number of sitcom and children's show introduced Amazon.com, and brief revivals of the long running soap operas All My Children and One Life To Live on Hulu and iTunes before the shows were cancelled again a short time later. Despite these momentary setbacks, the future of web based television series otherwise looks brighter and brighter. Time will only tell if free online services such as Amazon.com, Hulu, or iTunes will sooner or later produce or distribute an original dramatic series of network primetime or basic cable quality with 250,000 viewers and 100 episodes or more to become profitable and have web based series finally break out into the mainstream. One answer might be more cross-platform storytelling involving a cable series.
Production and distribution
The rise in the popularity of the Internet and improvements in streaming video technology mean that producing and distributing a web series is relatively cheap by traditional standards and allows producers to reach a potentially global audience who can access the shows 24 hours a day.
Methods used for distributing online television
- Streaming from a single or multiple websites.
- Downloadable media, in the form of video podcasts or individual files
- Peercasting
Technologies
Sunday, March 2, 2014
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