09 March 2010

ABC News Sees a Digital Future

LA Times

But the network faces a delicate balancing act: the immediacy and cost-savings of such 'backpack' reports versus technical, ethical, editorial and quality issues.



Reporting from New York — Dan Harris, an anchor and correspondent for ABC News, has a firsthand grasp of how digital journalism could transform the future of network news.

Working without a camera operator or sound technician, he and his producer, Almin Karamehmedovic, have used hand-held digital cameras to track American sex predators in Cambodia, sneak up on silverback gorillas in the Central African Republic and document child exorcisms in Congo.

"There's never been once when I missed the bigger crew," said Harris, who lugs equipment and mikes-up interview subjects himself, much as he did when he started as a local reporter in Bangor, Maine. "The level of intimacy you can achieve so far surpasses what you can get with a big team, it's beyond compare."

But even digital journalism acolytes such as Harris caution that the pared-down approach has its limitations.

 When he was covering the recent earthquake in Haiti, "I couldn't do some basic journalism because I needed to worry about tech stuff," he said.

"There are enormous benefits, but there are also real concerns that we have to do this wisely."

That's the balance ABC News is wrestling with as it cuts 25% of its 1,400-person staff and halves its ranks of bureau correspondents, replacing them with two dozen digital journalists.

Network executives say smaller cameras and laptop editing software offer them a lifeline as they struggle to contain costs. Instead of relying on different people to produce, report, shoot and edit stories, one or two people with the right equipment can handle those tasks.

In dramatically overhauling its newsroom structure, ABC offers a stark illustration of how the economic squeeze is remaking traditional media organizations and what viewers see on the news. Stories shot with hand-held digital cameras often have a personal, rough-hewn quality familiar to a generation raised on amateur Web videos, and can lack the polished production values that mark network news.

Some veteran broadcasters are skeptical that digital journalists, burdened by so many duties, can effectively cover a story.

While it may save money, "what it is going to do in the process is simply cut down on an individual's ability to tell the story properly and well," said Ronald Steinman, executive editor of the Digital Journalist, a magazine about visual journalism, who spent four decades producing news for NBC and ABC.

That sentiment is shared by many ABC staffers, who declined to be quoted by name for fear of losing their jobs. They fret that the expectations being put on digital journalists are unrealistic.

ABC News President David Westin said the network will still cover the majority of stories with a producer, correspondent, camera operator and sound engineer that make up the traditional four-person crew, particularly newsmaker interviews with politicians and celebrities. But he argued that digital journalism actually gives reporters more control over their stories.

"This is a way to maintain or enhance our editorial footprint and get to the stories that are really important, and in some cases, do it in a more compelling way," he said. "In my heart of hearts, this is really about the journalism, not the money."

Digital journalism is common at local news stations, which expect their limited staffs to multitask. But in recent years, it has also been embraced at the network level.

 "A good three years ago, we were like, 'This is the future,' " said Alexandra Wallace, senior vice president of NBC News, who estimates that 20% of the network's on-air stories are digitally produced. "There are huge upsides that have nothing to do with cost."

ABC plans to deploy its digital journalists in two-person teams, but some correspondents function as "one-man bands," such as CBS' Mandy Clark, who just spent two weeks embedded with the Marines in Afghanistan producing her own pieces. CNN has four such reporters working around the country, and Fox News uses solitary reporter-producers in remote places such as Pakistan and Afghanistan.

Kevin Sites, a former network producer who was one of the first "backpack journalists," said he got the idea while covering the war in Kosovo for NBC. "I remember having to move almost a semi full of equipment into a war zone," said Sites, currently a Nieman Fellow at Harvard University. "We were so top heavy."

Sites later spent a year as a solo journalist producing video reports about conflicts around the world for Yahoo!, an approach he said produces more authentic reporting. To make it work, however, ABC needs to be wary about hiring technically savvy but editorially green reporters, he noted.

"They know how to capture things with a camera because they've been doing it since they were 12 years old for YouTube, but will they be able to do something ethically and editorially sound?" Sites asked.

ABC executives said they plan to draw digital journalists from across the company's ranks and offer extensive training before they are deployed.

Still, veteran television executive Philip Balboni, who runs GlobalPost, a website that provides digital coverage of world news, cautioned that it's not easy to find people who are equally proficient in writing, reporting, shooting and editing. Balboni said that perhaps 10% of his 70-plus correspondents can claim that.

"High-quality television does take a lot of craft and skill that is not easily learned," said Balboni, the founder of New England Cable News.

ABC anchor Bill Weir, who often shoots his own material on assignment, agreed that his footage is not as good as that of a professional camera operator. But in some cases, the "cinéma vérité quality" enhances the storytelling, he said. While embedded with U.S troops in Afghanistan in January, he filmed a firefight during a dawn patrol, footage he then edited in the field before transmitting to New York.

"Moments like that prove it can be done," Weir said. Hopefully, he added, "we can come out on the other side of this and keep doing our work in a more efficient, nimble way. Because if we don't change now, maybe the entire place goes."

08 March 2010

Hollywood Billboards Taken Down Amid Legal Battle

AP

A commercial billboard described as "super graphic" ad for Asics sports wear, is seen on top of building in the Hollywood Boulevard section of Los Angeles on Thursday, March. 4, 2010. The Los Angeles city attorney's office has filed its first charges under a ban passed last year on the giant building-cloaking signs known as super graphics and most other digital billboards. The civil complaint filed Monday accuses 27 billboard companies, property owners and sign installers of violation of the ban approved in August by the City Council. (AP Photo/Damian Dovarganes)


LOS ANGELES - Five giant billboards have been removed from buildings in Hollywood near the site of the Academy Awards after Los Angeles prosecutors charged four people and four companies with hanging the so-called supergraphics illegally.

The ads for Asics athletic gear that hung horizontally across several storefronts near the Kodak Theater where the Oscars will be held Sunday were all removed by Saturday.

Three of the four people charged have posted $100,000 bail each.

City law bans the installation of supergraphics, vinyl images draped over buildings.

Last week in the most severe step taken in the ongoing battle over the banners, Los Angeles businessman Kayvan Setareh was jailed on $1 million bail for hanging an enormous movie ad on a Hollywood Boulevard building he owns near the Kodak Theatre.

07 March 2010

Oscar Party Crash: No Deal in Cablevision-ABC Feud

In Cablevision-ABC Fight, Oscar Viewers Could be the Losers



Cablevision Systems Corp. said early Sunday March 7, 2010 the stall in negotiations should be blamed on Disney CEO Bob Iger [Pictured].


NEW YORK (AP) - Millions of cable subscribers faced the prospect of Oscar night without the Academy Awards broadcast Sunday after ABC's parent company switched off its signal to Cablevision customers and the two companies blasted each other for failing to reach a deal in a dispute over fees.

In dueling statements dispatched early Sunday, the two companies traded blame for the stalemate ahead of one of the most-watched nights of television.

"Cablevision has once again betrayed its subscribers," said Charissa Gilmore, a spokeswoman for the Walt Disney Co. and ABC Television Group, in a statement. "Cablevision pocketed almost $8 billion last year, and now customers aren't getting what they pay for ... again."

Cablevision Systems Corp. said the stall in negotiations should be blamed on Disney CEO Bob Iger. "It is now painfully clear to millions of New York area households that Disney CEO Bob Iger will hold his own ABC viewers hostage in order to extract $40 million in new fees from Cablevision," said Charles Schueler, a Cablevision executive vice president, in a statement.

The signal can still be pulled from the air for free with an antenna and a new TV or digital converter box.

Cablevision has argued that Disney is seeking an additional $40 million a year in new fees, even though the company pays more than $200 million a year to Disney.

Disney counters by arguing that Cablevision charges customers $18 per month for basic broadcast signals but does not pass on any payment for ABC to Disney.

The dispute is similar to a standoff at the end of last year between News Corp. and Time Warner Cable over how much Fox television station signals were worth. That tussle, which threatened the college football bowl season and new episodes of "The Simpsons," was resolved without a signal interruption.

Cablevision also feuded with Scripps Networks Interactive Inc. in a January dispute that temporarily forced the Food Network and HGTV off the service. Neither side provided terms of an agreement that restored the channels after three weeks.

Disney and Cablevision have been airing dueling advertisements about the ongoing dispute for the past week. Also, lawmakers in Washington have chimed in, suggesting the Federal Communications Commission step in.

The company's previous contract with Cablevision expired more than two years ago, but it was extended month by month as talks continued.

Under previous arrangements, Disney was paid for cable channels such as ESPN and Disney Channel, but gave its ABC broadcast signal away for free, a situation that most broadcasters are now trying to change.

"We can no longer sit back and allow Cablevision to use our shows for free while they continue to charge their customers for them," WABC-TV president and general manager Rebecca Campbell said in a statement.

Schueler suggested that disgruntled viewers should blame Disney's top executive if the station goes dark.

"There is one man who is going to decide whether New York gets to see the Oscars, and that's Disney President and CEO Bob Iger," he said in a statement late Friday. "We call on Bob Iger to stop holding his own viewers hostage, end his threats to pull the plug on ABC at midnight and instead work with us to reach a fair agreement."

WABC-TV is the most-watched TV station in the country, said Disney, which is based in Burbank, Calif.

These are Census Ads? Go Figure

The Washington Post

It seems like another goofball mockumentary from the folks who brought you "Best in Show" and "A Mighty Wind": Film director Payton Schlewitt wants to create "Snapshot of America," a blockbuster that will literally feature all 300 million Americans -- at once. To realize his grand vision, Schlewitt has assembled his production team, which is charged with organizing one big, big shoot.

But the 30- and 60-second commercials starring the fictional Schlewitt that have been running on TV for the past few weeks aren't promoting a movie. While it might be hard to tell, the ads are actually pushing the U.S. Census Bureau and its $14 billion once-a-decade population count.

The commercials -- directed by Christopher Guest, the writer and director of such satiric films as "Best in Show" -- have elicited some strong reactions, though probably not always the kind the Census Bureau has been hoping for.

Conservatives have blasted the bureau for the cost of its outreach efforts, which included spending $2.5 million to air one of the Schlewitt spots during the Super Bowl -- a debut rated among the worst by those who saw it. Advertising critics have been harsh, too, branding the campaign a failure for its obtuse style and confusing message. Perhaps worse, many viewers seem to have simply tuned out the whole thing.

* * *

The commercials are done mock-documentary-style, as the nitwitty characters plan a photo session that will star "every man, woman and child in this beautiful country of ours," as the pretentious Schlewitt (played by Ed Begley Jr.) puts it. Among other things, the characters squabble over the cost of hiring a helicopter to shoot the mass gathering and whether bears could disrupt it. Schlewitt's nearsighted director of photography (Don Lake) worries about who'll mind the rest of America when everyone is posing for the picture.

Guest directed four commercials and a series of Web videos for the campaign. The cast is part of his repertory of regular film players, including Begley, Lake, Bob Balaban (here playing a bean-counting producer) and Rachael Harris (as the project's overwhelmed location scout).

The only mention of the Census Bureau in the ads comes when a production assistant mutters to a colleague that the 2010 Census is already doing what Schlewitt hopes to do with his "snapshot."

Census spokesman Steve Jost said the agency wanted to take a humorous approach in the opening phase of its awareness campaign because its surveys showed widespread cynicism about government. "Having government officials as the face of [the initial ads] probably wasn't going to work," he said. "We felt that having these familiar actors, and using humor, would be a helpful way to get the message out" that the census was starting anew.

The Guest ads, he said, appeal primarily to younger viewers, who are among the hardest to persuade to return census questionnaires. He wasn't able to say how effective the ads have been in raising awareness of the census, because no surveys have been taken.

The Census Bureau will spend $6.9 million on airtime for the Guest commercials, or less than a third of the $24.9 million it is spending on all advertising during the preliminary awareness phase of its campaign, according to DraftFCB, the bureau's ad agency. In addition to airing during the Super Bowl and the Olympics, the ads have appeared on cable and network programs such as the ABC series "Castle."

By several measures, however, the ads seem to have been met with a shrug. On YouTube, where the Census Bureau has created the Payton Schlewitt Channel, featuring all of Guest's work, some of the videos have received fewer than a hundred views since they were posted online weeks ago. The official Payton Schlewitt page on Facebook had just 722 fans as of Friday evening.

Viewers rated the first Census Bureau spot as the third-worst Super Bowl commercial, based on such factors as emotion, memorability and word-of-mouth impact, according to HCD Research, which conducted a nationwide survey immediately after the game.



Critics have further questioned whether a slightly off-kilter parody of Hollywood filmmaking by a Hollywood filmmaker was the best way to persuade millions of Americans to cooperate with the federal government's population count, which begins this month when questionnaires are mailed to more than 120 million households.

Advertising Age reviewer Bob Garfield savaged the series in a recent column. "What a weird choice to build the ongoing awareness campaign around a troupe of well-heeled, middle-aged white people who are famous mainly to well-heeled middle-aged white people," he wrote.

* * *

Indeed, Guest has received critical praise for his film work, but his wry, almost laconic style of humor appeals to a narrow audience. His most commercially successful film, "Best in Show," a mockumentary about a dog show, has generated a modest $18.7 million in sales since its release in 2000. His most recent film, the Hollywood satire "For Your Consideration," has earned $5.5 million since its release in 2006.

"The census is about counting Americans in all their diversity," Garfield said in an interview, "and yet in terms of demographics and aesthetics, [these ads] have an Upper West Side vibe. Basically, they're aimed at Nora Ephron and no one else."

Calls to Guest's production company's offices in New York and Los Angeles were not returned.

Tim Graham, media analyst with the conservative Media Research Center in Alexandria, is among those who are skeptical about the bureau's advertising approach. "A fiscal conservative has to ask why the federal government is spending millions to promote the census with a bunch of Hollywood comedians," he said. "I'm not sure everyone is on the same wavelength [as these commercials]. If it saves the bureau money in the long run, they'll have a more persuasive case, but the risk is they look like they're being cheeky with government money."

Graham suggests that viewers may have missed some of the Census Bureau's message, due to confusion with another series of commercials starring Begley as a clueless cable-TV company executive. Those ads, for DirecTV, were also directed by Guest.

The bureau says the outreach is cost-effective because each percentage-point increase in mail-back rates ultimately saves about $85 million in follow-up costs.

06 March 2010

RealNetworks Settles Copyright Suit

Information Week

The Motion Picture Association of America had claimed that Real's software illegally circumvented anti-piracy technology embedded in DVDs. 



RealNetworks has agreed to kill its DVD-copying software and pay $4.5 million in settling a copyright-infringement lawsuit filed by Hollywood studios.

As part of the settlement announced Wednesday, the provider of online entertainment services also agreed to drop its appeal of a San Francisco federal court ruling that barred RealNetworks from distributing or supporting RealDVD or any other technology that enables the duplication of the studios' copyrighted content.

RealNetworks also agreed to turn off the metadata service that provides DVD cover art and movie information to the roughly 2,700 ReadDVD customers. The company said it was in the process of refunding the purchase price of the product.

Bob Kimball, president and acting chief executive of RealNetworks, said in a statement that the company was "pleased to put this litigation behind us."

"Until this dispute, Real had always enjoyed a productive working relationship with Hollywood," Kimball said. "With this litigation resolved, I hope that in the future we can find mutually beneficial ways to use Real technology to bring Hollywood's great work to consumers."

In August 2009, U.S. District Judge Marilyn Hall Patel barred RealNetworks from selling RealDVD, ruling the technology violated Hollywood studios' copyrights and the licensing agreement RealNetworks had with the studios' copyright-protection group.

The 2008 lawsuit filed by Viacom and the Motion Picture Association of America claimed that RealDVD illegally circumvented the anti-piracy technology embedded in DVDs. The DVD Copy Control Association, which licenses Hollywood-sanctioned copyright-protection technology, joined the suit later, claiming RealNetworks was also in violation of its DVD CCA license.

The settlement was announced less than two months after RealNetworks Chief Executive Rob Glaser stepped down, saying that after 16 years at the helm, it was time to hand over day-to-day operations to someone else. Glaser remains chairman of the company.

Glaser resigned his post shortly after the resignation of chief operating officer John Giamatteo.

05 March 2010

Twitter Approaching 10 Billion Tweets

Mashable

About one year ago Twitter reached a huge milestone: one billion tweets. Four months ago, five billion tweets were served. And now, in about one day, Twitter should reach another very important milestone: 10 billion tweets.

Notice the trend? Although Twitter (Twitter) has been somewhat struggling with traffic (compared to its earlier immense growth) in the last couple of months, it still managed to go from five to ten billion tweets in four months; quite a remarkable achievement.

Counting tweets is actually quite easy: Just look at the URL of any tweet. The number at the end of the URL seems to be the number of that tweet, and at this moment the number of one of the latest tweets is 9917803012. If this seems like a long way to go before we reach one billion, check out this counter. Yup, we’re getting there fast.

The five billionth (now deleted) tweet was a simple, “Oh lord,” written by Robin Sloan. I wonder what the ten billionth tweet will say?