I recently had the honor of doing an interview with the talented Amanda Walgrove of The Faster Times and The New York Egotist. Amanda had some intriguing questions for me, see what I had to say below.

How would you describe the Spidvid model?

So Spidvid is where the world’s video creators and talent connect, build teams, collaborate and partner up together on projects, and produce video entertainment together. Our slogan is “Make Video Together.” Spidvid’s model empowers open video production on a global level by offering a collaborative set of tools to manage projects from inception right through to distribution.

How did you come up with the idea for Spidvid?

I personally wanted to create my own quality video entertainment but didn’t want to pay costly freelancers and contractors to do so. So I thought creating web based software that enabled me to partner up with the talent I needed on my team made a lot of sense, and doing so in a formal structure outside of the traditional social networks. Additionally I was inspired by Seth Godin as in 2008/2009 he talked a lot (via his blog) about openness, collaboration, new media, and connecting individuals together. I searched for a video collaboration site that leveraged these trending elements and found nothing so that further inspired me to build this product.

What kind of unique possibilities for creative content does Spidvid provide for that we haven’t yet seen from other platforms?

I think it’s all about empowering individuals to be able to create video entertainment that they couldn’t have otherwise. It’s all about centralizing like-minded individuals together in a community where they can openly collaborate together by leveraging each other’s time and talent, and giving them the tools to manage their projects and relationships.

In terms of property rights, why is Spidvid’s revenue distribution model for the filmmakers so important or revolutionary?

Our mission is to enable team members to share content ownership together, the “project pie” as we call it. You see this happen in big Hollywood projects where key actors and team members get project percentages but it hasn’t happened in this relatively young online video space. With more and more video creators collaborating and partnering together, we see a real opportunity to offer a formalized solution to this problem. Verbal agreements have been the norm to date, but this won’t hold up long term as projects get more extensive and abundant, and this space evolves into a real business opportunity.

Will Spidvid prove to be a helpful service for those looking to break into certain facets of filmmaking?

I think it’s a great way to jump into filmmaking. So if you write scripts but need a team to collaborate with to make things happen on screen then Spidvid is a great solution for doing that.

While the Internet provides for a great deal of social interaction, it seems that in terms of content creation — blogs, vlogs, journalism — a lot of it is still being accomplished individually and then released into a community for discussion. Why is it important to stress the collaborative side of creation, not just consumption?

I think that content creation and specifically video is all about collaboration since it takes a few team members with specialized skills to be able to successfully complete projects. I think what we seen early on in online video was creators trying to do everything themselves which produced less than ideal results, but with the ability to bring on team members as partners it allows the creator to start and complete more projects easier, and it gives members a vested interest.

Why do you think studios might be hesitant to transition from traditional media into digital media?

Because they don’t want to disrupt their traditional cash cow. Studios are afraid of change, and wish that things could always stay the same, but unfortunately their production models are under pressure, their audiences are fragmenting, and most importantly their budgets are shrinking thanks to disruption on many levels. We are seeing traditional studios move towards the digital world now as digital pennies are growing to digital dimes and will eventually become digital dollars as the space matures. I believe we are only in the 2nd inning of a 9 inning game.

How do you think new media will transform storytelling?

I think that creators and producers have to listen to their audience within social media circles to see where they should take their stories, and develop their characters. If a high percentage of viewers dislike a character, or are uninterested in a particular story line then the writers and the team needs to take a hard look at the future of their content.

Was Spidvid involved in the IAWTV awards? What do you think of them?

I think that whatever initiatives are done to enhance awareness and growth of our space then it’s great. The IAWTV does a fantastic job of evangelizing online video, and the tight knit community is really growing and learning together which is fantastic to see. We’ve had many IAWTV members on our podcast, and to get their perspectives and hear their stories related to the future of online video is very encouraging and inspiring.

What’s your best advice for anyone looking to get into the startup life?

I would say to just jump in and do it. Get in early, create a crappy product, fail and learn, listen like crazy to your users, and try to find the right product to market fit. And find a solid co-founder or two who can help you in the areas you’re weak in. Take your time building your team because startups are like a marriage in that you need partners you know, like, and trust, and who can be there in the good times and especially the bad times. I would also say to not get too attached to your startup as it will make you emotional and can lead to making bad strategic decisions in every aspect of the company’s lifespan. Oh, and find mentors who keep you optimistic, hungry and foolish, and inspired to change the world.

This interview was originally posted on The Faster Times and The New York Egotist. Thanks to Amanda for this opportunity!

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My previous interview was with director Johnny Blank. Today we pick the brain of Steven Trauger who’s the Founder and Creative Director of video production and motion graphic design company Seriously Total Video Productions.

1. What are the biggest challenges in creating a film, TV or web show?

Well, aside from the ever-changing technology landscape and the decisions knowledgeable crews are faced with there, the very first and often fundamental challenge every production faces lies in its initial idea or basic concept/story development.  A director can have all the tools and talent in the world at his or her fingertips, but if they don’t know how to properly use them, their video or film will not be successful in its delivery.  That’s because there is a language to follow in film.  There is the 180 degree rule and the commonly practiced notion of introducing an audience to a location via an establishing shot prior to any close-up.  It takes a beginner awhile to learn all of these, but whether a person works in the industry or not, everyone is exposed to them—audiences just don’t realize it while enjoying a motion picture.  Now in education, deadlines and conceptualization seem to present significant challenges.  Good location scouting/set design and proper lighting/audio can be real problematic for beginners taking their first stab at this kind of work.  Trying to mold a young producer’s ideas into viable content so that those ideas successfully communicate a point or tell a story can consume considerable time and effort.  However, as with any production, careful planning can lead to solid execution and a positive experience for all involved.  Expectations should be clear and production tracking closely monitored—especially in the case of daily, weekly, or monthly television/web shows/series so that deadlines are met.  In the professional world, a lot of the video content professionals are hired to produce revolves around the corporate world.  Having a client fully communicate what it is they want producers to exactly create and why can sometimes yield just as big a challenge.  And that’s okay because they’re not necessarily professional communicators, which is one reason they’ve hired you.  Amazingly, many clients tend to hire video professionals with no idea what or exactly how they want their idea conveyed.  It’s simply that—an idea.  Therefore, content producers need to not only be fully aware of their client’s goals and target audience but also be able to craft that idea into a concise message that gets results or serves an acceptable purpose.  Recent trends in online marketing have placed significant emphasis on the delivery of web-based video.  More and more companies rely on the creation of digital shorts or webisodes to entertain or get their message out to the public.  This is because the web has no time or creative restrictions but that doesn’t mean there aren’t challenges with doing so.  These short films can easily lock in an audience and generate buzz about an idea or product.  The trick for producers wishing to tap into that sort of viral power is to exercise caution.  Not all ideas can generate an instantaneous and far-reaching response.  Nailing down the viewing audience and appropriate delivery style is key to developing a winning campaign or entertaining series that does get widespread attention, thus attracting lots of followers.  It’s not easy to develop—especially when making comedy and so that is why I would say viral campaigns can be challenging in themselves.  Audiences today are smarter, they react differently than they did a few years ago thanks to the availability and wide-spread content that’s out there.  The trick is to make your video stand out.

2. Is collaboration between team members integral to the success of your production projects?

Absolutely!  The essence of all project work is the synergy that the group members bring to the table.  Any product is the sum of those efforts.

3. Is finding and putting together the right combination of talent hard to consistently do?

I don’t think so.  Of course it helps to understand the skill set your particular project requires–so you know how to budget, where to look, and what to look for in an individual’s capabilities/reel.  But I actually think it boils down to the issue of aligning schedules and geographic location—especially for those working in short films since a lot of this type of work is made on tight budgets and outside the normal scope of a typical 9-5 type of schedule.  There’s actually plenty of talent out there in the world; you just have to know where to look and be smart about your recruiting.  Regardless of computers, their capabilities for remote delivery, & online/phone discussion, what I have found is that the best collaboration typically comes from that which is face to face.  I also see a lot of people who look to hire folks who can work on-site, at their offices in the freelance world—sometimes because of the data pipeline/project workflow and other times because they simply want that direct physical interaction with the employee or as I like to say, creative partner.

4. Is film school needed in 2010 to become a star in the video or film industries?

Let’s be honest, a great education will only get you so far in the entertainment industry.  In order to be successful, one must possess some level of drive and motivation.  I suggest students look at what kinds of educational partnerships/internships/co-ops various educational institutions offer and realize it is these locations where most of their knowledge from the classroom will be paired with further experiential learning.  Watch the various entertainment mediums and concentrate on the styles/techniques used.  You pick up so much just from simply watching the work of other pros.  We’re in an age where it pays to be fiscally smart/responsible so when considering colleges, it’s helpful if incoming college students have a general idea what line of work they wish to pursue in the film/entertainment world.  Of course that’s easier said than done.  But that way students can do some research with their parents ahead of time regarding potential salaries they’re likely to see upon graduation and find a school that has the best offerings which fit their current financial situation.  Unlike medical school, most filmmakers or production personnel won’t make enough in their first few years out of college to pay off enormous educational loans.  In fact, the production industry relies more on experience and demo reels than it does degrees.  Sure, there are some cases where a name on that degree will help, and having a degree in general is a good idea, but in most instances, many people from all different backgrounds will be competing for the same position and that same salary once you are finished.  Is it in your best interest to pay more for that very opportunity?  Look at the school—see what they offer and also realize that your experience and the knowledge you will gain there will be what you make of it.  Finally, to make it truly big in the entertainment world there are 2 important questions one must ask: 1) who do you know and 2) how lucky are you.  I am sure there are people of equal talent to that of a Michael Bay or Jerry Bruckheimer but the real question is will they ever be discovered.  It’s all about being in the right place at the right time and landing that opportunity which gets the ball rolling.  Always having a positive attitude, remembering to network, and keeping up with current trends/issues will help ensure your future success in the entertainment business.

5. What will the video production landscape look like in 2015, and how will it evolve from its current state today?

Everything is moving towards data; film will only be taught in film school or used for specific reasons.  The question is will 3D be a fad?  My prediction is that you’ll see Hollywood move away from big-salary actors and return to strong stories.  The summer box office of 2010 proved that star power doesn’t always mean everything.  Will there be more technicians instead of artists?  While technology is great, it should remain a tool.  It already has taken away some of the awe audiences of the past have come to enjoy, advancing the quality of imagery depicted on the big screen over the years and allowing some filmmakers to simply make a film around such spectacle instead of storyline.  Today, with new computer advances there is no limit for realistic-looking visual effects or stylized production designs directors can technologically achieve in their films.  More courses in film schools will probably focus on how to act and manage content in the digital realm, for example DIY training, workflow/production server management, and acting for the green screen, etc.

I thank Steven for the interview, for his insights, and time. If you aren’t already, be sure to have our future interviews and posts delivered to your email inbox, or get them through your favorite RSS reader.

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My previous interview was with Abbi and Ilana where we discussed web series creation, collaborative team work, and the future of web series.

Today we learn from talented film director Johnny Blank.

1. What are the biggest challenges in creating a film, TV or web show?

Financing, financing, financing. We’re at a real turning point with the rapid rise of digital. Technology is now so cheap anyone can create it, so there’s more video content than ever before. Professional content creators are now fighting with a whole new influx of amateur content makers who are vying for audiences. Audiences are rapidly moving online and advertising dollars are drying up on TV. Then you also have the huge rise in illegal downloading which is crippling the film industry. Five years ago, digital was new and exciting and people were willing to invest in new web series and other video content development, now even that has dried up as investors can’t figure out how to successfully monetize online. What does this all mean? It means we’re currently stuck in an awkward transition phase. I attended MIPTV earlier this year, and all the broadcasters weren’t there to invest in new shows, they were there with repackaged old shows they were trying to sell to new markets to make local versions of these old shows! Things will definitely begin to change once convergence really happens between TV and online. The film industry is also beginning to learn some of the lessons from the music industry on finding new ways to monetize. I think we’ll begin to see some really new and exciting financing models emerge in the next few years. Sites such as Kickstarter and IndieGoGo are just the beginning.

2. Is collaboration between team members integral to the success of your production projects?

Absolutely, it is of paramount importance. Collaboration works on a number of levels: it is team building and encourages people to work together to make the best production possible. Everyone’s input is important to the process, and end result. There is also something quite magical about the collaboration process when people get together and bounce ideas off each other, often new and unexpected results occur that can really add to a production. Some of my best filmmaking experiences have occurred during the collaboration process when a discussion with a collaborator really sparked an idea that added to the narrative of a film, or added that special something to a scene. Great ideas are made even better and tremendously improved with great collaborators on board.

3. Is creativity perhaps the most important element in video production and content going forward?

It is certainly massively important. With the amount of video content set to rise exponentially (Cisco predicts that 90% of all internet traffic will be video by 2013) the main way for a video to stand out, is through creativity. I’d have to say though that technology will play an equally pivotal role in productions moving forward, it has already been a game changer in opening up filmmaking tools to just about anyone. With the advent of ARG’s, and innovative online distribution strategies, I think that creating ’story worlds’ rather than one-off videos or films will become the norm. Video’s that engage and allow an audience to interact on different levels will be the one’s that get the press and the audiences. I hasten to add though, that technology is often used in video now simply for the sake of it, but without creativity behind it, it falls flat.

4. Is film school needed in 2010 to become a star in the video or film industries?

No. Nor has film school ever been essential to becoming a star in the film industry. Many of the world’s greatest film directors never attended film school. Most of the new spate of online stars who are commanding millions of views per month never went to film school either. That being said, whether you attend film school or not is a choice about how you learn. For me personally, I’ve often found it easier to learn by doing rather than by sitting in a classroom. On the other hand, great film schools give you a fantastic grounding in the technicality and craft of filmmaking. In the end, making compelling work will make you a star in the film industry, no matter whether you went to film school or not.

5. What will the video production landscape look like in 2015, and how will it evolve from its current state today?

Hopefully it will be extremely exciting and true convergence will finally be upon us! I think we will see a lot of new and innovative ways to fund production that we haven’t thought of yet. I think we’ll also see a lot more of the trend toward transmedia. For example, making whole ’story worlds’ that include gaming and social elements, ARG’s, etc. With the rise of hybrid DSLR style camcorders we’ll also see a shift toward better and better production values at less cost. The number of new web series will be off the charts!

My only hope is that the 3D fad disappears until such a time when technology can deliver true gobsmacking 3D without the need for ridiculous glasses! And yes, I know there are already 3D TV’s that don’t require glasses, but they are still awful.

I thank Johnny for the interview, for his insights, time, and kindness. If you aren’t already, be sure to have our future interviews and posts delivered to your email inbox, or get them through your favorite RSS reader.

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I recently tweeted out via Spidvid’s Twitter account that we were looking for talented web series creators and producers to do email interviews with. A few talented individuals fitting that description reached out and wanted to be part of the campaign.

My first interview was a collaboration with Abbi Jacobson and Ilana Glazer, the creators behind the web series “Broad City”. I took each of their answers, mixed them up, and turned them into content for you to learn from. Enjoy the interview below.

1. What are the biggest challenges in creating a web series?

Abbi – For one, it’s challenging to create a web series with no budget! I think the most difficult thing is figuring out the relationships between the characters, and how to maintain them in various situations. Being confident that you have a story worth telling is key to getting everyone on the same page.  Any collaboration can be difficult, and figuring out our process as a team has been both interesting and tricky over the last nine months. What roles do each of us have, and how do we brainstorm ideas and execute them to complete the end product.

Ilana – I think the biggest challenge was finding the right director and editor to round out our team. The series started as just the two of us, and so we decided to make the most of the situation by trying out as many directors and editors as we could, kind of like how Six Feet Under rotates directors. This was of course not optimal, but we learned a lot from that experience, and it led us to our third member, Rob Hugel. As much as we wanted to keep it purely us two and our own dynamic, we learned that shit is going to change. In fact, that’s still something we’re learning about, enabling us to focus on the core tasks we’re good at, and letting others do what we’re not quite as skilled at.

2. Was collaboration between team members integral to the success of your production projects?

Abbi and Ilana – Absolutely, collaboration is the project. This process started out as a conversation in a pizza shop by just bouncing ideas off of each other. Creating that dynamic between these two ‘characters’ was something we had figure out by spending a ridiculous amount of time together. About half way through, we changed the way the series is produced. We now meet about 2 times a week to go over ideas about future projects, and how we can reach more people with our story. We have worked with a bunch of different directors, cast and crew, and found those collaborations to be refreshing to the show by bringing in different perspectives. The last couple months have been very interesting, and our team is working better and better together to constantly improve the show with each episode.

3. Is finding talent which bodes well for web series hard to find?

Abbi and Ilana – I would assume that for the average web series creator it would be challenging to find the right talent to work with, but we are fortunate to be based in the middle of the most talented pool of actors and production crew in New York City. If anything, it has been hard for us to narrow down the list of who we want on our team, as we adore and admire lots of skilled people.

4. Is film school needed to become a star in the video or film industries?

Abbi and Ilana – Completely unnecessary, you don’t even need your own camera! However, film school may help with grooming students to understand the importance of telling interesting stories that viewers want to watch. The created content and delivery is most important, so not everyone involved necessarily has to go to film school. Every team needs some technical knowledge and experience though, so whether that comes from a formal education or not is up to the individual.

5. What will the web series landscape look like in 2015, and how will it evolve from its current state today?

Abbi -I think web series exposure will only grow from here, and more and more valuable platforms will become available for creators and producers to leverage. The challenging part is competing for viewer attention against the plethora of new web series released now and in the future. And with everyone’s attention spans increasingly diminishing, that’s another challenging element to take into consideration.

Ilana – I have NO IDEA. Actually, I think that mankind will be wiped out in 2012. If it isn’t though, then I think that 90% of all content on TV will have originally existed on the Internet first.

I thank Abbi and Ilana for the interview, for their insights, time, and kindness. If you aren’t already, be sure to have our future interviews and posts delivered to your email inbox, or get them through your favorite RSS reader.

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I recently had the opportunity of interviewing Adrian Pedrin Valencia, who is an award winning director from Big Road Media. This is the final part of the three part series. You can read part one here, and here is part two.

11. How much time should be allocated to each of these project states? pre-production, the shoot, post-production

It all pretty much depends on your budget and on the time frame you are given, there is no golden rule here.  You should invest time into finding a quality location to shoot, figure out your lighting strategy, and catering options to take care of crew members. You will more than likely spend very little time shooting the video, but a good amount on pre-production and post-production. You will want to have talented post-production individuals on your team to help make up for any unexpected mistakes or issues experienced during the shoot.

12. What are the biggest challenges to deal with on a typical video production shoot?

Budget, it all comes down to budget, the more complex or professional you want your shoot the more its going to cost. Even looking at lighting expenses you can get 1000-2000 watts of light from regular power outlets, but if your shoot requires 4,000+ watts you are going to have problems with blowing the breakers. So then you need a power generator, and lots of gas to run the generator. Be sure to have lighting well planned out because it can drag the entire team down if the shoot doesn’t go relatively smoothly. Also, making sure the location is well secured, and free from public traffic and distracting sounds is an absolute must for getting everything done on schedule.

13. What do you think of crowdsourcing funding platforms like IndieGoGo.com for producing videos and films?

To me it sounds like a very good idea because its another option for independent low budget productions to leverage, and tap into. I mean not everyone has the connections to raise $50,000 dollars for a project, and even if you just raise $10,000 or so using a crowdsourced model, you can still do some remarkable things by being scrappy on that budget.

14. What is the most interesting/innovative video production product on the market today?

Well, I’m a camera guy so RED and Arri Alexa cameras are producing some remarkable content for creators out there. RED has changed the way teams do shoots to get crisp resolution results, and using prime lenses is pure enjoyment for me. Low cost special effects like the web series Film Riot teaches, is also a great how-to resource for innovators in the space playing around and experimenting.

15. Are film schools doing a good job educating young students about how to create videos for the year 2010 and beyond?

That’s kind of a hard question because we are still young into the era where people can essentially do whatever they want to without enrolling into film and production schools. I think we will realize the answer to this question in a few years because only time will tell. But the bottom line is that if you love video or film production and have a passion for the art of doing it, then that trumps someone who went a formal film school and has lots of knowledge but lacks the passion needed long-term. Whether you went to film school or not just give a 110% effort, and success will come in time.

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