Lots of speculation on the future of traditional news and digital media brands this past month… The big headline was obviously the loss of more than 1,000 jobs at BuzzFeed, AOL, Yahoo and HuffPost. Yes, even Buzzfeed. “Wasn’t this the company that was supposed to have it all figured out?” the Business of Fashion gasped.Read More
What's the difference between Twitter Live and Periscope? I see the camera button beneath the cursor when I open a window to tweet. And the latter, which Twitter acquired in 2015, is installed on my iPhone – still waiting to be loved. But shouldn't they be doing the same job, allowing smartphone owners to live stream any time anywhere and get instant feedback?
I have another important question. Is anyone regularly using these tools beyond early adopter types, X Factor hopefuls and wannabe celebrities? Who are the must-follow live streamers? How is the company working to nurture its broadcaster community, one that has been largely underserved as this Mashable article explains? And what about Facebook Live, Instagram Live and YouTube Live? Everyone is going live. Where does Twitter fit in?
Only one place to go for answers and that’s London HQ, of course. There, among a small industry crowd, I was given a short presentation about the different ways that people are harnessing the service, from popular individuals like Emmy Award-winning storm chaser Jeff Piotrowski to power publishers like Buzzfeed.
Our host also gave us a glimpse into the future. One key update was that Twitter plans to combine Twitter Live and Periscope to create the go-to live broadcast platform, one that can be accessed and navigated in as fewer clicks as possible like Snapchat. A sensible move for a company that wants to be what’s ‘now’ (or rather “what’s happening in the world and what people are talking about right now”).
Although it’s important to appeal to the general public, both in terms of deepening the pool of available streams and clocking up viewers to woo advertisers, it is clear that brands are also key targets for Twitter. This is a business, after all. Hence the recent launch of Twitter Studio for publishers. Jo Kelly, Twitter’s Head of News EMEA, said that, “The priority is working with news organisations to monetise their content, taking clips from their live streams to market.” This could be in the form of breaking news (Bloomberg is a partner), pre-planned events ( eg Live Nation concerts and Wimbledon) or special programming (Gatorade's #TheBuzz and PopBuzz).
According to their Q4 2017 shareholder letter, Twitter live-streamed more than 1,140 events (up from 830 in Q3) and made 22 new partnerships (nine of which were international). It will be interesting to see how the interests of consumers and brands each impact product development.
Part two of the evening was a panel discussion featuring Evan Hansen (Editor-in-chief of @periscopetv and ex-Wired), John McHugh (Co-founder of news agency @verifeyemedia) and Ryan Broderick (Deputy Global News Director at Buzzfeed). Some good points came out of that conversation. Hansen was predictably buoyant about the service, saying that, “So much of broadcasting has been the fourth wall and distancing yourself from the story. This is more engaging and allows the person streaming to really use the camera to help inform.”
And referring to the more news-driven political reports, he pointed out that, “The arc of these stories is often a lot longer than the initial broadcasts. It’s not just a one-off. There is a whole ripple effect, galvanising people around an issue.”
McHugh is a veteran of mobile journalism. He noted that live broadcasting has been around for a long time. In fact, I have covered pioneers such as Tim Pool and the rise of smartphone-wielding citizen journalists on this site. But the ability to upload content on site, in the midst of a story, is now greater than ever, especially for those working on investigations. One caveat though: he was quick to emphasis the value of personality and insight when live-streaming, particularly if you hope to make money from it.
Otherwise you risk undermining your brand. “When you watch live, the picture can be shaky, noisy but people want to stay with it to see what happens. But if you are live you need to keep it engaging, explain what’s happening…” And your audience can help you do that by asking things you haven’t even thought of. It's not all about flying hearts.
Broderick is an engaging presenter/commentator. He has live-streamed reports everywhere from pro-union protests in Barcelona to North Korea demonstrations at the Winter Olympics. For him, Periscope is “an incredible opportunity to get right in there.” But it goes beyond that. Buzzfeed is still fighting for credibility in the media industry. “We really want to showcase that we have reporters and they know things,” he said. However, he was concerned about the issue of consent as you are putting people live on camera like never before.
Overall I did come away with more questions than answers, many of which Hansen echoed. For instance, how is Twitter going to verify and manage all this user-generated content? Streams could easily be misleading – “context isn’t always there with live,” as he put it. One solution could be to aggregate several feeds/cameras from one event or scene. Safeguarding is also important. Remember last year’s stories about viewers grooming children on the platform?
But let’s finish on a more optimistic note. Well, two actually. Personalisation is always a big carrot for users. So imagine if Twitter could recommend the best content for you using machine learning. That would be invaluable. Secondly, Hansen anticipates a new realm streaming-inspired documentary. “Where could live video go next?” he asks. “What can that bring us in terms of understanding what’s going on in the world and our enhancing our empathy?
Let's get out there and find out.
It's not my go-to app but occasionally someone does something interesting with Snapchat. There is editor Yusuf Omar and his mobile team at the Hindustan Times, for example. They have covertly reported on the drugs problem in Punjab and discreetly given voice to sexual abuse victims. But student Trim Lamba's short film Cracked Screen has taken the social media tool into a whole new realm.
Chantelle Levene stars as a regular young woman sharing her everyday life with followers on Snapchat. She goes to the gym, goofs around with friends, dances in her bedroom to the likes of Nadia Rose and airs her frustrations about job hunting, among other filter-enhanced moments. When she suffers a horrific attack, the story becomes quite gripping … and disturbing.
Having read the synopsis, you expect the worst and wait for the shocking act. As Short of the Week's Chelsea Lupkin points out, "You’ll experience empathy for her injuries, the betrayal she feels by her followers, and a creeping guilt at being a voyeuristic spectator in her undoing." For me, it's the reactions of others, played out through her reactions on Snapchat, that are most affecting. How things can quickly turn nasty, and friend becomes foe. Her see-sawing emotions as the victim becomes increasingly insecure, unraveling in a series of images and messages.
Good news travels fast but bad news is almost instant. In the intemperate and often disheartening world of social media, people frequently bypass compassion and empathy, taking pleasure in the misfortune of others. And they love to gang up on those under fire. It's the mob mentality that Jon Ronson wrote about so poignantly in his book So You've Been Publicly Shamed.
The title Cracked Screen acknowledges the obsession with image and the power of myth-making in the age of social media. When that image is tarnished or shattered, what then? Where does that leave us? This is a bold and exciting use of the medium. Snapchat, an in-the-hand experience, definitely makes the narrative feel more intimate. And real. Chantelle's character could be your friend. You feel complicit.
The composite narrative – a sequence of moving image, stills, captions and doodles – adds tension and mystery to the story, not least because we only see the victim's reactions. The viewer's imagination then goes to work. Trim Lamba and his team have done a great job on this. It's exciting new ground for filmmaking and, as she says, challenges our conception of what we deem 'cinematic' — an idea that should intrigue and propel us all".
Mobile journalists are making the leap to documentary and Leonor Suarez is among those leading the way…
The thought of making films with a smartphone is so liberating. I’ve often shared my love for documentaries, and many of you will remember how Hollywood cooed over Sundance feature Tangerine, shot entirely on an iPhone. Now, as Apple prepares for its latest launch, the journalism and film industries both stand to benefit. And this is progress, let’s be clear. Ideas and effort should be the only real barriers to entry, not technology or privilege.
For every old school skeptic looking on as they caress their RED, Alexa or Canon 7D, there’s another person – iPhone tucked in pocket – getting out there and surprising themselves with their ability. One example is Leonor Suarez, who gave an inspiring talk yesterday at monthly meet-up MoJo London. Suarez is a news editor and reporter for Televisión del Principado de Asturias (TPA) and makes 20-minute packages for the broadcaster, working with a specialist cameraman. Two years ago she had never tried to film any type of journalistic content on her phone, and had no interest in the technical side. After attending a MoJo gathering she dived straight into long-form.
One catalyst was the abundance of great stories Suarez would come across from day to day. She also wanted to have more creative control over how the final broadcast would look. Her first piece was an 11-minute report on a community arts project under threat in Oviedo, shot and edited on an iPhone 4 and delivered against a tight deadline.
Patience was key. Suarez had to handle every aspect of the report, from lighting to interviewing. It’s what she describes as a “handcrafted job”. However, the added responsibility also became an opportunity for Suarez to “grow as a journalist” because “filming enhances your creativity”. Since then, she has gone on to cover a broad range of topics: a new wave of farmers in Picos de Europa; Michelin-starred chef Nacho Manzano cooking with flowers; and the Potosi silver mines in Bolivia.
Suarez showed clips of these on the night. She stumbled upon the Potosi mines story while on holiday. Many of us were impressed by quality of the shots captured in such poor light. She said that focusing using Filmic Pro, the “gold standard of mobile video”, was difficult so she reverted to the native camera on her iPhone 5s. And that wasn’t the only useful tip. Here are a few more:
- Phone capacity is still an issue for documentary makers so if you are shooting for more than an hour then always have a spare memory stick to hand. Suarez Velcros one to the tripod, together with a battery.
- Back up everything at least twice. Once to an external hard disk such as a 256gb iPad (using AirDrop), and again to the Google Drive or a similar cloud provider.
- Make use of in-built image stabilisation. Don’t be afraid to try pans and tilts if you think this will help to convey the story.
- Edit in iMovie if you can. Using a phone can be really hard on the eyes and it’s awkward to perform tasks such as editing audio.
- Learn to work within your particular constraints, eg time and conditions. For instance, use any existing light sources around you. A good example is the hardhat lamps in the mines documentary. Keep interviews short and have a preliminary conversation off camera beforehand to identify key questions.
- Don’t feel unprofessional just because you are using a phone instead of a bigger camera and crew. This is the now!
- Think about engagement. That means cutting trailers and teasers with instant visual appeal and snappy soundbites.
– iPhone 6s
– Auxiliary battery
– Manfrotto 500 series tripod
– Rode NTG2 shotgun mic
– iRig Pro audio interface
– TRRS adaptor cable
So what next? Suarez predicts that the line between camera operator and scriptwriter will continue to blur as journalists become more adept at visualising the stories they want to tell. Judging by her next project about the last days of the Spanish Civil War, Suarez will also be experimenting with form and narrative, making the most of the iPhone’s close-up capability and employing other techniques such as reconstruction.
As the technology becomes even more powerful and compact, reporters will be able to get right into the nooks and crannies of a piece to capture amazing footage. A mine, an attic, an ants’ nest… Given time, space and money, filmmakers would still prefer traditional broadcast set-ups for capturing footage to air on giant home TVs. But there are advantages to using a smartphone, not least because people are familiar with them. Hence, they are put at ease.
"I didn't have to take a camera crew with me, says RTE new co-ordinator Eleanor Mannion, who shot an hour-long documentary called The Collectors on an iPhone 6s Plus in 4K for RTE. “I could just go on my own and have conversations with people about their collections. The medium didn’t get in the way of the story and that was really important to me. It allowed me another level of intimacy and honesty…”
You can hear more about Mannion’s experiences on the production at the next Mojo London meet up on 11 October. See you there.
For many of us, they soundtracked our youth and introduced us to the art of the mixtape, not forgetting those endless hours of amusement pushing buttons and untangling jams. But is the cassette revival anything more than a nostalgia trip or hipster trend?
Vinyl’s back. A familiar headline over the past few years, whether you are talking about the UK or US market. Last year the former enjoyed its first year of one million-plus sales since the nineties’ Britpop era, while record revenues in the latter exceeded that of ad-supported streaming platforms. What continues to surprise many though, is the sustained comeback of the cassette.
Survey the marketplace and specialist labels appear to be thriving, offering expertly curated releases with indulgent artwork. Take Awesome Tapes from Africa (archivist and DJ Brian Shimkowitz’s dusty finds from the Motherland), Burger Records (LA garage rock store that’s sold more than 300,000 tapes since it opened in 2007), Manchester’s Sacred Tapes (noise artfully packaged with letterpress-printed insert and the odd incense head), Opal Tapes (experimental electronica) and limited edition industrial ambience on Umor Rex.
Newer labels are getting in on the act, offering more futuristic sounds such as the dub techno on Cong Burn Tapes and outsider acid excursions on Seagrave Records while San Diego’s Bonding Tapes presents a more abstract, intergalactic take on the classic beat tape. In short, the breadth of spooled music available in 2016 is astounding.
This is no niche enterprise, either. Over the past 24 months major label artists such as The Weeknd, Justin Bieber and Marina and the Diamonds have released albums on cassette. Last year the NAC (National Audio Company), the leading cassette manufacturer in the US, had its best year since 1969. They now employ their own graphic artists and produce their own machine parts to satisfy demand.
There is even a Record Store Day international offshoot event called, you guessed it, Cassette Store Day, which celebrates its fourth anniversary on 8 October. Incidentally, the two biggest-selling releases in the history of Record Store Day, according to co-founder Michael Kurtz were cassettes – a mixtape for Guardians of the Galaxy and Metallica's No Life 'Til Leather.
So what’s sparked this movement? A good person to ask is POST/POP label founder Jed Shepherd, one of the biggest tape enthusiasts out there. “This is a tangible rectangle you can hold and kiss and love, which makes all the difference,” he says. “You have more of a connection with your favourite artists than with cold mp3s.”
Artist Daniel Oduntan, who released the first of his acclaimed Palm Wine Beats series as Lo-fi Odysseys on POST/POP, argues that a tape’s limitations can also be its strengths. “There is a whole generation of people that have never experienced physical media,” he observes. “We need to get back to that. The digital age can be toxic. The human mind can only absorb so much information. So slowing down and taking your time is a beautiful thing, and the tape allows you to do that.”
Using the same stock and duplication methods can even produce a signature sound imprint, creating what Opal Tapes’ Stephen Bishop has dubbed the “fifth band member” effect. For Oduntan, it's the ephemerality of the medium that really appeals. “The tape is constantly changing,” he says. “That’s interesting to me. It will grow old as I grow old, revealing other nuances. This adds to the art more than it takes away. Anyway, there’s nothing stopping you from listening to the digital file that most people offer with a tape.”
Although typically produced in modest runs of between 50 and 200, at a cost of about £2 per unit, tapes do provide a valuable additional revenue stream for artists. “You play a gig, you might have records on sale, but who has £25 burning a hole in their pocket nowadays?” asks Shepherd. “However, most people will have £5 they can throw at a band they've just seen, so it's a way of earning what might otherwise have been lost.”
Upcoming producer Wu-Lu fondly recalls singing along to a tape of The Fugees in his mum’s car and falling asleep to the tales of Asterix and Obelix. When the time came to release his debut album Ginga, he chose a low-cost, high-commitment format that listeners could actually hold. “I put it out on tape because I wanted my first release to be a homage to the way that I was exposed to music, as a stream of consciousness,” he explains. “That’s why the whole album was mixed together … almost as one long track.”
Cassette is also a great medium for trying new ideas and being more spontaneous. Exhibit one: Berlin-based Klasse Recordings and their Graffiti Tapes, aimed at writers that make music and vice versa. Over in LA, Leaving Records founder Matthewdavid is using tapes to turn a new generation of listeners on to new age music and promote what he calls “the art of long-form listening”. Following on from the Laraaji reissue package, his Modern New Age series continues a longstanding tradition of pioneering DIY American music, both in body and spirit. Each tape is designed to be “a mindful, meditative, ‘beatiful’ hand-assembled art piece”.
A parallel is often drawn between tapes and files, and cinema and Netflix. Tapes offer more than good value. They are fulfilling a deeper need, particularly among those who have only ever known digital. But will major label interest kill the countercultural spirit of this outsider culture? Tristan Bath thinks not. He hosts Spool's Out, which is a weekly cassette culture radio show on Resonance FM and a monthly tape reviews column on UK music site The Quietus. Bath says this tape community reaches “as far as the internet goes”, with labels producing “labours of love”and even helping to lower postal costs by distributing each others’ releases.
“Nobody's afraid to put their music out on tape,” he adds, “from harsh noise to power pop. Most of these DIY labels are doing limited runs (under 100) and for the most part it's weird music for weird people. The fact that several thousand people might have a copy of that Guardians of the Galaxy mixtape won’t change the fact this music is often niche.”
Ironically, one undisputed driver will be technology. More and more retailers are offering players – from walkmans at Urban Outfitters to twin decks on the high street – while Sony recently announced a 185 terabyte tape for our lossless pleasure. Audiophile collectors, meanwhile, can hunt for treasure such as this.
CDs scratch and can alienate. Vinyl is ultimately a luxury. Tapes, on the other hand, are little affordable objects of desire, like a handwritten letter to a fan. Some are still being popped in to car decks and players decades after being opened. I think they call that staying power.