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Stern said that although revenue is generated from the sales, both Showtime and Lion’s Gate see the series’ Internet presence as primarily a marketing device. In the case of Weeds, the company decided to pool iTune rights with Showtime, the series’ network partner, even though Showtime does not have video distribution rights for Weeds. Lion’s Gate is offering episodes of Weeds and Wildfire for sale on iTunes, but Stern noted that the studio does not yet have what it considers a financial model for Internet revenue generation.

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“We are right now using that technology to drive eyeballs to our traditional programs,” said Stern, with Web-specific content so far limited to webisodes for a series that would offer a back story for a character. Throughout the show’s airing, visitors to the actual UK locations covered in the show could use their cell phones to upload guided walks.ĭuring a panel on trends in distribution, Lion’s Gate’s Stern explained her company’s approach to Internet distribution, so far. Tamara Krinsky of and Rex Wong of discussed Web-based communities as an emerging market force, with Wong citing how SciFi Channel was shamed, via e-mail, into creating an Internet version of Stargate by legions of fans horrified about the show’s cancellation.ĭuring a case study panel on projects built for multi-platform delivery, BBC Producer Mark Jacobs demonstrated an experimental sister project that the BBC created for its travel show Coast. Frank Chindamo of Fun Little Movies and Patrick Kearney of ROK Entertainment, whose companies sell media to networks that broadcast only to cell phones, described the type of mini-films that they’re looking to license. John Canning of Yahoo! and Doug Craig of Discovery Communications discussed Video on Demand and Internet TV. But the hot topic was how emerging platforms, particularly the Internet and mobile devices, might affect the future of distribution, deliverables, marketing and ownership-the revolution that Barry Clark of Mandalay Media Arts described as “throwing our lives into terror and excitement.”įollowing her keynote address, Swedlow moderated three panels on Internet and mobile distribution. The learning curve was informally extended to the lunch tables, where designated experts hosted roundtable chats on topics ranging from new lenses to digital theatrical distribution.įilmmakers were excited to inspect the new low-cost HD cameras on hand, and several panels tackled the ongoing debates over tapeless-vs.-taped capture and whether or not the long-awaited Red Camera will replace film. Thanks to the affable Jackson Hole crew, the cozy facilities of the Skirball Center and the intimate size of the crowd, the atmosphere made it easy to network and hit up panelists with detailed follow-up questions.

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Attendees could also take free one-on-one tutorials for Panasonic’s HVX200, HDX900 and VariCam, Sony’s HDV, HDCAM and XDCAM-DH, and tapeless workflow solutions from Final Cut Pro.

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Thirty-seven panelists spoke, ranging from network executives like Discovery Science Channel Executive Vice President Steve Burns and Lion’s Gate Television Chief Operating Officer Sandra Stern to filmmakers like Pierre de Lespinois of Evergreen Films Studios and Katie Carpenter of Bahati Productions to tech gurus like Ron Surbuts of Dolby to digi-preneurs like keynote speaker Tracy Swedlow of the Web journal Interactive TV Today (ITVT).Ī small exhibit room featured new gizmos in non-linear editing, image manipulation and digital acquisition from Apple, Canon, Panasonic, Fujinon, Sony, Evertz, Quantel and Teranex. The symposium offered eight in-depth panels over two days.

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How do you get your content out to your audience and how does that affect the acquisition at the beginning of the game?” The 2006 Symposium attempted to take on the digital revolution from soup to nuts, covering everything from acquisition strategies for projects with multi-platform distribution to how to get your website to pop up on Google. Says Festival Director Laura Johnson Huckin, “This year has been so much more on the multi-platform and the emerging technology.

The symposium, spearheaded by the Jackson Hole Wildlife Film Festival (JHWFF), was launched in 1992 for doc filmmakers tackling the then-new high-definition cameras.

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But thanks to a crack list of speakers, you would have found some answers, too.

Do you know the difference between a webisode and a mobisode? Blu-Ray and HD-DVD? Wikis and blogs? IPTV and DRMs? Tapeless and DI workflows? If you are a bit frightened by the digital New World Order, you would have found a sympathetic ear at the wine bar of this fall’s Jackson Hole Tech Symposium, held at the SkirballCulturalCenter in Los Angeles.

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