Wk1: Internet Killed The Video Star: The future of Film Clips

OK Go in their "This Too Shall Pass" clip

The humble Film Clip has been left in the cold when people talk about the larger digital revolution. It’s music that has been the conversation for years, and film and TV are up next. But where does the Film Clip future lie?

In the DVD boom of the late 90s, many bands put out collections of their Film Clips. I own dozens of them – for many reasons.

– I wanted easy access to some of my favourite clips
– It was a way to see clips I’ve never seen before
– I want my favourite clips on DVD quality
– I just wanted to own everything my favourite bands did anyway.

But that was the late 90s, and the value of those Film Clip collection DVDs are plummeting. In the brave new digital world, do we really need them at all? Do I even need to keep the old ones I have?

The question of access is the first to become a non-issue, thanks to YouTube. But it’s not just YouTube – all video sites are using music clips as easy content to fill their servers.

Look at the otherside, the DVD. Does anyone really watch Film Clip collections from start to finish? If not, then after you’ve dug out the DVD, put it in the player and waited for it to load, you still have to navigate through a menu.

Having YouTube really puts the myth of access to rest. One click away, no menus, no waiting. My computer is also simply on more than my DVD player.

It comes back to cloud computing too. I don’t think these clips are going away. Even if YouTube falls, there are others. Film clips are not going away any time soon.

I also don’t see any record label putting up a paywall any time soon. They want their film clips seen.

Interesting the trajectory of how labels see the value of film clips. Damian Kulash Jr, of OK Go, nailed it in his New York Times piece from last year (link). In 2006, the viral hit of Here It Goes Again was a success for EMI. It was free advertising. In many ways, Film Clips have always been ads for a song or an album. Bands can’t play on every TV show, so they sent their videos on the road for them.

This led logically to MTV. MTV (back when it played clips) was essentially a series of ads for a series of bands. MTV didn’t pay for the clips – and made a bazillion dollars from them. So it’s interesting to hear CEO of Warner, Edgar Bronfman Jr, say that MTV made millions off the backs of the labels, and doesn’t want this repeated with YouTube. The danger – as he sees it (and others as well) – is creating another monster industry and missing out on any of the benefits.

So by 2010, a series of unsteady agreements were made with YouTube. Videos had ads, miniscule amounts of money exchanged hands and some videos were blocked altogether. The result was blocking the next big OK Go video – This Too Shall Pass. Free advertising for the band had turned into another way to make money.

It seems to be sliding back. I think it’s become quite clear that Film Clips are not a big money earner. iTunes have never been able to get any traction in selling them outright. Some money is passing hands from advertising revenue. And the number of people watching film clips on YouTube has taken on the most importance, yet again.

I think we can count on this trend continuing. Labels and bands never made money off Film Clips directly before. They are not going to be a cash cow now.

There’s also very few film clips I can’t see. Yes, there was a time when on-demand did not exist. And even my favourite bands, there were one or two obscure videos I never saw. Or I had a fuzzy VHS, taped off the telly. Then there are bands that never made it big in Australia (The Jayhawks and Sloan come to mind).

Now everything is up for grabs. Hundreds of thousands of Film Clips (and of course, even more live clips). We can safely assume having a DVD only clip is madness.

There’s not even an argument for having all of one band’s clips in one place. They are in one place – your computer screen. There are many DVDs in stores right now that can show you things you can’t see online. Film Clip Collections are not one of them.

People don’t watch film clips on TV anymore. Not first, and sometimes not ever. It’s an era of YouTube, and watching videos on little frames on our computer screens. NPR’s Neda Ulaby compared watching the ‘Thriller’ clip on a small screen to trying to take in Spartacus on an iPhone. Even the film clips themselves are changing.

It is yet another reason to not watch film clips on the home entertainment system. Single Ladies. The great OK Go videos. They are made for the medium of the internet. It’s also the first place people go to. Videos premiere on websites – and are passed virally.

It brings in a question of DVD fidelity. Do we care? For years, a small but vocal group decried digital music for it’s lack of sound quality. Millions of people chose to ignore this and love music anyway. Then music started being made for digital (see Soulja Boy).

And so, if film clips are being made for the internet – who cares about DVDs?

The final point is the biggest one – ownership. People are still skeptical of cloud computing – and I am too. But I am willing to forsake Film Clip collections for the internet version. Here’s why:

Cloud computing as scary security concerns. From fear that servers-might-crash-and-I-lose-my-stuff to I-don’t-want-a-company-to-know-that-much-about-me. I think both those things fail for Film Clips. I don’t care if YouTube can track the clips I watch. And I don’t think I’ll have trouble finding clips on the internet ever, even if YouTube crashes.

And those old DVDs are awful. They may have seemed nice at the time, but they usually offer no extra features. Even attachment to artwork is out the window. Most of them were just rehashes of existing artwork. Blur’s was just a reshaped version of their Best Of, and I have that artwork on a nice big vinyl record.

I think the ultimate test is this – if I didn’t own that Blur DVD already, and someone offered to give it to me for free, I’d probably say no.

The Film Clip collection is dead, I think that’s certain. But it’s death may be a sign of bigger things to come. As bandwidth and storage space increases, where does it lead for the Film and TV industry? That’s the next big war, and maybe the first battle has already been fought and won.

Damian Kulash Jr Op-Ed piece in New York Times – http://www.nytimes.com/2010/02/20/opinion/20kulash.html

Edgar Bronfman Jr discussing the “MTV of the internet” – http://paidcontent.org/article/419-goldman-sachs-communacopia-edgar-bronfman-ceo-warner-music-group

NPR article about the changing art of the film clip, Neda Ulaby – http://www.npr.org/templates/story/story.php?storyId=99880324

No Embeds – a modern tragedy

Embedding disabled by request. Have you noticed these words on certain YouTube videos? This ha been around for a while, but usually there was a work around. Now, those videos don’t play at all. Check out OK GO‘s mega-viral clip for Here It Goes Again.

Doesn’t play right? You have to go to the YouTube page.

It sucks. We know.

Record labels, film companies and other video creators have pressured YouTube into this. And they backed down. As YouTube is owned by Google, we are surprised they did this. They are usually forward thinkers.

What’s the thinking behind disabling the embed feature? Money. People are demanding money for their content from YouTube. YouTube only make money from advertising. If no one actually goes to the YouTube page, YouTube makes no money and can’t pay the artists. That’s the big general overview.

But lets dig deeper.

YouTube has cried poor from day one. And we believe them. How many times have you clicked on an ad on a YouTube page? By YouTube‘s very nature, it’s mass market and impossible to target. The OK GO clip is inching towards 50 million plays. Name one other thing 50 million people may care about. Coke? McDonalds? Those are the only companies that need that reach, and are willing to pay for it. And when a company/brand is that mass market and ubiquitous, who needs to click on it? Really, who needs to click through to a McDonalds banner ad.

People who think YouTube are a fountain of money are wrong. YouTube, however, is valuable. Google didn’t create it, but it does own it now. And YouTube fits so nicely with Google. Google spent billions and billions creating services like Maps and News with the idea that, one day, later, we’ll figure out how to make money. It makes their shareholders nervous but they are almost always rewarded.

So we are waiting for the next dam to break, and for someone to work out how to make money off YouTube. Right now, it has to trap you into going to the site, to get their numbers up, and try to squeeze more money out of their ads.

(As we are (we think) three years away from every TV screen being connected to the internet, YouTube may well get even better viewing figures. Licensing out a YouTube channel for on demand broadcast could be one way to make some money.)

Although, it does seem odd that Google, arguably history’s greatest ad placers, can’t seem to work this out.

The real tragedy though is the loss of the embed technology. The YouTube story has been tied to the red hot concept of viral marketing. It’s been the story of the decade. And now, it’s gone. No embeds takes a massive blow against what made YouTube so cool when it first appeared. And it leaves room for a competitor to find a clever way around it.

But the scarier thought is the death of viral marketing. People say things like – wow, no one is ever going to sell as many records as Thriller. It’s just not possible, the world doesn’t work that way anymore. As the user generated video world matures, maybe we will be saying – wow, no one’s ever going to get 50 million hits again.

Size Matters? – YouTube goes XL

YouTube XL - your fit?

YouTube XL - your fit?

YouTube is dancing a fine line between standard and passé. No doubt it has changed the world, and the way we view it. But it’s grainy player, dated website look and many hot competitors have made YouTube seem less innovative, more dinosaur. Add to the fact that YouTube has not been able to strike deals with many ‘rights holders’ – film, TV, music and other companies can provide official clips that people want so much. This week, it seems like YouTube have starting making steps towards the future. The first fruits of this is YouTube XL.

The thinking behind XL is the TV. The line between your TV screen and your computer monitor is blurring more and more, and that’s the place XL fits. If you can make the web appear on your TV screen (or you have one of those sexy Mac cinema displays), then XL is for you. The interface reminds us of cable TV screens – no scrollers, BIG writing etc. But we guess that’s a necessity in this space.

Most game consoles like Xbox can get onto the internet nowadays. It’s getting easier and easier to plug a computer into a TV. You can loop that Blu-Ray disc drive through your TV. AppleTV is a great device whose time is still to come (we reckon). Most major TV stations have online view-on-demand. Now the ubiquitous YouTube is heading to your TV as well. If YouTube can strike a deal with TV stations and other rights holders, then maybe we can throw our Tivos and Sky+ boxes away.

Also, we love how film quality, resolution and definition is back on people’s minds again. After some years of watching film clips made for a small YouTube screen, maybe we will head back to an era of widescreen film clips, full of detail. Technology and art follow eachother, after all. Now if they can do something about that audio…

Most of us will stick with our father’s YouTube for now. But just as it’s getting easier for people to hook up their iPods to speakers or the TV to play something for friends, soon it will be that easy for video. No more crowding around a laptop with terrible speakers to show someone a funny clip. Soon it will be prime time.

Check out YouTube XL here – http://www.youtube.com/xl

Ben Folds A Cappella

Folds with the Princeton Nasoons

We’ve all seen them flood youtube. Amateur and home recordings of people, every day folk like you or I, performing the music of others. Thousands upon thousands of guitarists, piano players and singers showing off their chops.

It is this phenomenon that kicked off the new album by Ben Folds. The album is called University A Cappella, and it does just what it says on the tin. It’s University A Cappella groups covering Ben Folds songs.

The idea came from Folds being sent a link of a university a cappella group performing one of his songs.

Once he decided to record these a cappella versions, he put the word out online and University groups submitted 250 versions of his songs for consideration. 14 groups make the final tracklisting, and Folds himself contributes two tracks.

It is a surprisingly varied recording. The ‘Loreleis’ stand out by being an all girl group. The female voice also counter points on You Don’t Know Me performed by ‘With Someone Else’s Money’. Folds himself flew around the US to halls, studios and whatever rooms he could find to help oversee the recordings.

We don’t see this as being a major work. It will sit along side ‘Fear Of Pop’ and the Shatner record as curiosities in Folds’ career. What is cool is how this record came together. There is a link to a video below, and seeing these kids very excited to be recording is a blast.

It all came full circle in February when the Nasoons, the a cappella group from Princeton who started it all, supported Ben Folds at a gig. So next time you put up that video of yourself playing a song, you might end up supporting the band one day!

Watch a great making of video at http://www.benfolds.com/acappella