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      30 Mar 2011

      Cut the Cord

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      “Cut the cord” has become the rallying cry for those interested in abandoning cable television in favor of streaming online video to their phones, tablets, desktops and – forsooth! – televisions. It’s an apt phrase, not merely for its echoes of severing the umbilical cord in the delivery room but for its metaphoric reach into that almond-shaped space in the Venn diagram between baptismal rebirth and outright renaissance. There are variations, of course. Google indicates that “cut the cable” is a fraternal twin. It also brings up a blogger who simply calls himself “John,” who launched Cut-the-Cable.com two years ago. John matter-of-factly identifies his online effort as “the anti-COMCAST blog and resource site” and admits to having a “chip on my shoulder” due to the layoff that affords him the free time to take on the “fat bastards,” which presumably no longer fits his budget. Though his posts are sporadic, they are typically vitriolic and directed at discrediting and defaming the cable giant. Among them is a relatively recent analysis of a Houston news site story headlined “Comcast Contractor Accused of Raping a Child,” replete with a mug shot. Whether or not John’s informative if pungent tirades are justified (and they are to anyone who has ever made a phone call to Comcast’s customer service), they’re a bellwether of sorts and he’s not alone. Crystal Collins, the discount doyenne behind TheThriftyMama.com, doesn’t cast cable providers as evildoers, she does provide a gleeful step-by-step guide to cutting the cable, which, depending on your cable consumption needs, she claims can save one upwards of $600 a year. Lifehacker.com also show how to slice and dice one’s media diet, with additional info on where to stream your favorite live television feed. With all this blogging and flogging of cable companies, cutting their core product might seem to be grassroots movement. However, one should keep in mind the fact that broadcast networks themselves have stoked much of the fervor by streaming their content directly to consumers via their respective websites, effectively sidestepping cable – their one-time rival turned overlord (adjust a pair of rabbit ears lately? Yeah, didn’t think so). Moreover, Hulu is a consortium of a several networks – NBC, itself owns over a 30 percent stake. This is ironic given the fact that Comcast now owns NBCUniversal (the merged version of the network and the studio). However, the Department of Justice mandated as part of Comcast’s acquisition, it “must relinquish its management rights in Hulu” lest it “interfere with the management of Hulu, and, in particular, the development of products that compete with Comcast’s video service.” Comcast isn’t crying since they dominate much of the broadband market (at least locally). To wit, the cable behemoth still profits by the umbilical link through which the data that is, say, Parks and Recreation, comes tumbling. In fact, it’s a completely vertically-integrated strategy.  The revolution is being televised on the Internet, brought to you by the very entity against which you’re in revolt. Sort of like cutting off cable’s nose to stream its face.
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      17 Jun 2010

      Will iPhone change how we make movies?

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      Zealous geeks have their own version of the Rapture and Armageddon, neither of which is terribly apocalyptic unless, you know, one needs to reboot HAL or something. If this were an SAT-style analogy, it would go something like "Armageddon is to the Singularity as the Rapture is to ______." The correct answer? (a) Convergence; (b) "OMG, that girl looks like Sailor Moon and now I'm too petrified to answer due to my anime-boner." To nonbelievers, unversed in geek-speak, the correct answer is (a) convergence, often defined as a synergistic confluence of once-discrete technologies into greater efficiencies when combined. Or, as was the ambition but a decade ago, streaming internet movies on TV. In the late '90s, convergence was something of a holy grail for both evangelical and more mercenary geeks alike. The former saw the inevitable marriage of old and new media as a byproduct of technology's natural evolution toward simplicity, if not sublimity. The latter knew it was the best way to pump product directly to the consumer, who, in this case, wouldn't have to leave the couch. Fast-forward 10 years and lo, there's an app for that. "Hi, John Ciancutti, VP of personalization technology, here," read a recent post on the official Netflix blog. "Today, I had the unique opportunity to present the app we're working on for iPhone at the Apple Worldwide Developer's Conference in San Francisco." According to Ciancutti, geeks will soon stream the sort of content into their iPhones that was once only available on the big screen (or, at least, the bigger screen). The announcement from the Los Gatos–based online movie hub came on the heels of Steve Jobs' introduction of the iPhone 4. Apple is promoting its latest gadget with the smug tag, "This changes everything. Again." And, yes, it probably will, but in ways the convergent-minded geeks might not expect. With the proper app, the new iPhone 4 doesn't simply put the movie theater in one's pocket; it also crams in the movie making. The new iPhone not only shoots HD video, it comes bundled with a mobile version of iMovie, Apple's desktop editing software, which is a slightly lower rent version of its professional grade Final Cut Pro suite, the industry standard. At $200, iPhone 4 doesn't quite answer Jean Cocteau's admonition that "film will only become art when the materials are as inexpensive as pencil and paper," but it's getting closer. Now the web is atwitter with speculation about how quickly some smart-phone Fellini will claim to have produced the first feature film on an iPhone 4. Previous iterations of the iPhone have resulted in an abundance of similar, if less ambitious, efforts. Among them is a music video posted to YouTube in late 2008 garrulously titled "World's 1st music video shot on an iPhone—Newteknowledge by GOSHone." Its director claims the minute-and-half clip was "shot entirely on a jailbroken iPhone 3G" as a video for GOSHone's album ctrl_alt_ego. Six months later, an arguably more successful effort posted by BJSRmusic boasted that it was shot on the then recently released iPhone 3GS. Neither filmmakers seemed as concerned with their video's content as they were about bragging rights, lest one think "Music Video Shot on iPhone" is a groovy name for a song. Heretofore, no one has claimed that they have made an iPhone 4 video, let alone a feature, because the device won't be released until next week. But when it drops, let's hope Digital Age auteurs hew more to Cocteau's vision of inexpensive filmmaking than engage in some hasty race to YouTube's upload page. As Francis Ford Coppola famously opined 20 years ago, "To me, the great hope is that now these little video recorders are around and people who normally wouldn't make movies are going to be making them. And suddenly, one day, some little fat girl in Ohio is going to . . . make a beautiful film with her father's camcorder, and for once, the so-called professionalism about movies will be destroyed, forever, and it will really become an art form." In the very least, we can watch the iPhone 4 destroy professionalism as we patiently await a true convergence of artist and technology. Otherwise, you're just phoning it in.
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  • FMRL Blog

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