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Commercial Creep

Posted By CJ -, Wednesday, December 19, 2012
Commercial Creep
The Merging of Commercials into Original Programming
By Chris Thomes and Kevin Lezak

Did you happen to see the January 1st Honda Crosstour ads running on NBC’s Chuck? It’s where the commercial break starts off like an episode, with Awesome, Ellie and Morgan on some kind of peaceful road trip that bizarrely turns into a cross promotion for NBC's Winter Olympics and the new Honda Crosstour automobile. Was it a part of the show? Was it a commercial? Or was it both?

Integrating ads into original programming is all the rage these days. While considered innovative, this kind of advertising has actually been around since the advent of television in the 1950s, and many programs were sponsored and tied to one specific sponsor, like the early "soap operas". We all remember Texaco Star Theater with Milton Berle (I don’t really remember that) or Lawrence Welk’s Tiny Bubble Dodge ads (I don’t remember those either). As advertisers began to shift to thirty-second commercials, the practice began to fade until the late 1990s. Today they have become the way for advertisers to let their messages come across in a "not so commercial" way, e.g. product placement or advertiser-funded programming that feels original and fresh.

According to Wikipedia, branded entertainment is "an entertainment-based vehicle that is funded by and complementary to a brand's marketing strategy. The purpose of a branded entertainment program is to give a brand the opportunity to communicate its image to its target audience in an original way, by creating positive links between the brand and the program.” But simply put, it’s still just a commercial. Advertising agencies don't view them as commercials, though. They view this new kind of content as creative programming and the agencies aren’t just ad "creatives” anymore. Now these guys are entertainment "producers” in the biz.

How did we get here? Well, originally ad agencies went to production companies to solely make TV commercials. It was a simple model. Non-broadcast "films” were called industrials. Specific vendors did those and they were done much cheaper often non-union and with less agency oversight. Then, the Internet changed the rules. Over the last five years, the agencies have concepted and produced non-broadcast ads, casting aside the industrial model in favor of something entirely different that lives online and has the potential to migrate anywhere. It has many names… webisodes, short form, content, web films, viral videos. In short, they are simply hybrid – part original programming, part commercial.

Original programming used to be blue-chip real estate on TV. Producers were reticent to integrate product placement into episodic programming for fear of cheapening the storylines. If products did appear, it was subtle.

As product placements began to gain traction about ten years ago, it mainly appeared in sports telecasts and reality programming. But lately, like the Chuck example demonstrates, it’s appearing in comedies and dramas. The process of this integration doesn’t always work, like in Trust Me, where the advertisers were actually worked into the storylines. It was organic, yes - but distracting.

Now it’s the stories, characters and dialogue being usurped. Jon Stewart may easily shill/snack on bags of Doritos on Comedy Central. Sarah Walker in Chuck might preach TurboTax during the show. And to the audience, it will be clear that the writers and producers are not advancing the storyline or creating an interesting moment, but paying the bills.

Would any of this happen if the economy were faring better, TV networks didn't have so much digital competition, and DVRs weren't showing up in a third of U.S. homes? That’s hard to tell. But networks are certainly not slowing down the trend. It’s now not uncommon to see cast members appearing in ads adjacent to their programs.

At some point, ads and shows might blur to the point that the notion of a "commercial break" becomes a thing of the past. And if hungry creative producers start taking the reins, this pseudo-programming might actually become compelling in its own right; consider the Ford music Video Challenge around American Idol, or the BMW micro film series, or Disney.com’s The Possibility Shop. Crazier things have happened. Most people forget that soap operas were once invented for advertisers.

Online, many entertainment companies like Yahoo, Disney, Warner Brothers, etc, are dabbling in the world of branded (sometimes called brand-funded) entertainment. Their goal is to evolve their old custom ad production models to include new video content. The hope is that their sales teams can monetize these new content offerings with some acceptable margin. It usually appears in the form of product placement within custom webisodes or interstitials, or thematically adjacent positioning of the client brand on banner advertisements surrounding the video content. A sponsored by or presented by callout is also common. And that’s just the beginning. In order to defray costs, online video content may have to be supplemented with other clever interactive components like printables, casual game integration and promotions like sweepstakes and user generated content contests.

The big question is "can ad deals subsidize the production costs of some, if not all of this new entertainment?” It’s a good question and no one really has the answer yet. As TV advertising slows and DVRs let audiences bypass commercial breaks, advertisers will continue to find new ways to reach audiences and engage them. Branded Entertainment seems sexy because it offers engagement similar to television but at reduced costs. Of course, that is exactly the rub. These projects have one fifth of the budget to deliver three times the amount of content. To eke out any margin and succeed in delivering the quantity of content demanded, the production process should be more reflective of indie film or episodic cable than TV commercials, and the rules should follow.

But the rules change slowly, if at all. Everyone applies the old broadcast model despite the obvious differences.

The problem is that almost every production is some kind of investment, either financial or by cashing in favors with crew or talent to meet the budgets. The margins are just very, very thin. On top of that, many union agreements prohibit most companies or even independents from producing under a certain cost per shoot day, unless it falls under new media or interactive agreements. When traditional media productions do happen under that cost it is in violation, but for the moment, a lot of people turn a blind eye because there is so little money.

It is a difficult situation. Commercials typically have millions in paid media behind them. These new hybrids do not. Commercial money is not making its way into these new deals so agencies end up developing high-volume deliverables with a low profit precedent. Which is a little insane for your bottom line, since producing these initiatives often requires the same or more effort than broadcast commercials. Still, they aren't going away. These projects are more prevalent than ever due to the recession. And if the content itself backfires because the audience feels sold out, everyone loses.

Maybe as the convergence of TV and new media creep closer, technology may solve the very problem it created. Until then the goal is to find a way to serve both masters while maintaining workable margins and still captivating the audience. Let’s hope that savvy producers can help crack that code.

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Water, Water Everywhere

Posted By Administration, Wednesday, December 19, 2012
By Christopher A. Debiec
Photos by Andrew Wright

"Two ships, four manned submersibles, 40 dives at 10 sites in both the Atlantic and Pacific oceans … I like big operations, but this one was off the hook.”

Yeah, tell me about it.



Russian MIR "Cowboy” disconnecting a submersible "umbilical cord.”
That was James Cameron’s quote regarding Aliens of the Deep, one of the four ocean documentaries his company Earthship Productions produced from 2000 to 2005 — you know, the time between Titanic and Avatar. It’s funny how many people asked me during that time, "So, when is Jim going to do another film?” (Hmmm, I thought we were doing two films… Aren’t documentaries for the big screen considered films these days?)

Cameron developed the cameras used for Avatar on these projects. He partnered with underwater 3D camera specialist Vincent Pace to perfect what he envisions as "the holy grail of cameras” — a high-definition rig that is maneuverable, digital, high- resolution, 3D and won’t give viewers a headache.

As his associate producer/production manager for those five years, I had to build a whole new skill set for what lay ahead. Before Ghosts of the Abyss, the only water-based show I had worked on was a really bad German soap opera in the Florida Keys, so when I signed on to work with Earthship, my idea of working on water was about to take a whole new direction.



A MIR launch at sea.
WELCOME ABOARD!

My aqua education began when producer and PGA member Peter Barnett hired me to production manage the BTS footage for Ghosts of the Abyss. I hadn’t been back a week from shooting a film in Cambodia, City of Ghosts with Matt Dillon, when I and six crew guys were put on a flight to St. John’s, Newfoundland. All I knew was that we needed to install about a dozen surveillance cameras on the Russian ship Akademik Keldysh, the same ship used in Titanic. Upon arriving at the ship there was a problem with the local longshoreman. They refused to unload any of the 10 shipping containers and four trucks waiting on the dock until a deal point was resolved. So, without knowing the full situation, my crew and I took the initiative and spent the next several hours unloading the trucks and containers ourselves. That was a huge no-no. When you arrive into a port of call, don’t touch anything until you know what’s going on. You can get into a lot of trouble with the locals if you load even one case without approval from the longshoremen. Luckily for us, Cameron saw it as a big help regardless of the fine they paid.

Another lesson learned: Your crew should be prepared to wear many hats. No matter how big or small your budget, having a smaller, more elite team of multifaceted professionals willing to do anything for success should be a necessary requirement, especially if you happen to be working for a demanding visionary like Cameron. Also remember, when you make crew deals, they’re on a boat, so days off and hours worked should be flexible, if possible. (No one will be heading into town for dinner, if you catch my drift.)

MAN OVERBOARD!



James Cameron (left) with brother and safety officer, John David Cameron.
Just as in any form of production, safety and communications are extremely important, but when working on the water, it can literally mean life or death. Our entire production depended on us coming up with a system that worked. Our Russian ship’s crew that "wrangle” the MIR submersibles surface recovery are nicknamed "cowboys” — when you watch them do their thing, you’ll understand why. One night, the seas were so rough, they had a major problem attaching the "umbilical cord” to one of the MIRs; if it weren’t for the safety officer implementing their marine recovery protocols, the cowboy easily could have drowned. On all our expeditions, we hired a surface and safety coordinator that was also a six-year marine and Iraq war veteran, who just happened to be Jim Cameron’s brother, JD (John David Cameron). Trust me, nepotism had nothing to do with it. Each mobilization was run like a full-blown military campaign and the ocean was our enemy to conquer. JD and Jim drafted a set of safety procedures that contained all "in case of emergency” scenarios we could possibly conceive. Inevitably, it was the one they didn’t think of that sneaked up and bit us in the ass.

On Aliens of the Deep, our A-frame launching crane had a cylinder breakdown and we couldn’t launch our subs in the conventional method. As Jim observed, "We can’t just call ‘Cranes R Us’ and have this thing fixed. We’re 300 miles at sea, for fuck’s sake.” So minutes after the breakdown, Jim, JD and our ship’s captain focused on an alternative solution. Several hours and 40 pages of diagrams later, they devised a way to launch the subs by cutting away one side of the ship and sliding them into the water by using the ship’s smaller crane. Lesson No. 2: Thinking outside of the box will always save your ass out on the high seas. Marine walkies are standard for ship-to-ship communications. Most show walkies should work on board, but it would be a good idea to test them prior to setting sail. The Keldysh had extremely thick steel walls that occasionally interfered with our walkies. As you might imagine, a few crew members blamed the walkies for being crap and thought nothing of hurling them overboard. Lesson No. 3: A hair dryer, cotton swabs and alcohol will never really repair the damage, but can temporarily fool the vendor in thinking it was a manufacturer malfunction. You’ll still have to pay for it in the long run, so make sure you have the proper insurance.



Testing the submersibles in Miami, Florida
LAND HO!

One of the many responsibilities I had was to oversee the inventory, packing and shipping of all the equipment used at sea. As Cameron told me, "Bring two of everything, because it’s that one, five-dollar part we miss that can shut us down.” Talk about stress… On Aliens of the Deep I shipped one flat rack, with two submersibles and two 40-foot shipping containers to Miami, Florida, to meet with our sister ship the EDT Ares, and four 40-foot trucks convoying up to Newfoundland to meet with the Keldysh. Once the trucks to Canada left our headquarters, they had to be sealed for customs and security purposes, so at that stage, whatever we forgot was going in our own luggage — and be careful about what you try to stow in your carry-on.

…AND WHY ARE YOU SHIPPING TWO SUBMARINES TO SOMEONE’S HOUSE IN CALIFORNIA?

Customs brokers and ship’s agents are your best contacts when working in ports and overseas. At the very least, there’s no one better to have in your corner if you’re being detained in a customs holding area in Marseilles, France. In 2002, Cameron sent me to France on what JD explained as "a black ops mission on a need-to-know basis.” I wasn’t told what I was going to be doing in France until I arrived in Marseilles. It was surreal. My taxi driver couldn’t find the address I had, so I called JD in Malibu explaining where I was; he said, "Sit tight. Jim will be there in five.” All I was thinking was, yeah, right. I’m in a little town in the south of France with no landmarks. How will he find me?



A-frame launching crane with submersible
on the vessel Ares.



Of course, five minutes later a silver van pulled up and there was Cameron and his whole family. Still not knowing what I was doing, Jim, like an excited kid on Christmas, nudged me: "Wait ’til you see, wait ’til you see…” By this time, I was three years into working with Earthship Productions, so nothing surprised me anymore.

We arrived at a nondescript building behind a feed mill. Our French driver got out and started to open the padlocked door; all the time, Jim was nudging me, "wait ’til you see, wait ’til you see…” The door swung open to reveal a giant warehouse filled with every piece of marine expedition equipment you can imagine, including a pair of two-man submersibles weighing six tons each, standing 15 feet high and 12 feet wide. These were the submarines we would use for Aliens of the Deep. Cameron turned to me and asked, "So, how long will it take for you to photograph, inventory, pack and ship all of this to my ranch in Santa Barbara?”

Now mind you, this was the first time I was told why I was in France, so my first thought was to laugh, then cry. Knowing that neither would fly with Jim, I put hand to chin, walked around the warehouse and with Cameron staring intently at me, ultimately blurted out, "Eight weeks.”

"Eight weeks?!” he screamed. "You’re fucking kidding me! You have four.”

About 3½ weeks later — don’t ask me how; some secrets should be taken to the grave — I was at the Marseilles airport, with the operating manuals to the submersibles in my carry- on luggage. It was 2002 and the world still had 9/11 fresh in its collective mind. So when my customs agent asked me what the manuals were for, I responded, "These books tell you how to operate a submarine.”

I guess that was the wrong answer, because they escorted me to a backroom with no windows and started to interrogate. Luckily, I had the business card to my local shipping agent who explained the whole thing; since I wasn’t an authorized shipper of such material, they needed more details from a reliable source. After five hours, I was free, but missed my flight. Several months later, two military intelligence guys showed up at our Malibu office asking for me. JD took care of that one. But the experience left me something else to remember it by: From now on, I always have to go through an extended search whenever I fly. So again… be careful about what you put in your carry-on.



RV Akademik Mstislav Keldysh (Russia), at dock in St. Johns, Newfoundland.
THE LIARS CLUB

But France was a walk in the park compared to what happened to us Mexico. At the end of our shoot we demobilized in Guaymas, Mexico, and even though we had all the proper paperwork, I was stuck for two weeks while the Mexican customs officials tore through our trucks. Guaymas is generally a mineral and grain port, so when we pulled the 400-foot Russian behemoth to the dock, it might as well been an alien spaceship landing. The customs agents, puzzled, pulled out numerous items and quizzed me every day on them. Not only did we have cameras, lights, and miscellaneous production gear, we also had scientific apparatus from NASA. I didn’t know exactly what every piece of gear was used for, so I had to improvise a description for any item I didn’t know. It was like being on the old game show Liars Club, if that show had been produced by the Mexican government. By the time I was done, I could identify and describe every piece in all four of our trucks, at least, according to my own half-invented account of what they were.

WORDS TO SAIL BY

During every expedition, Cameron would write on the white board in our mission control the following statements, which we all tried to live by:

LUCK IS NOT A FACTOR.
HOPE IS NOT A STRATEGY.
FEAR IS NOT AN OPTION.

Any type of photography on the water is difficult and expensive. Give yourself enough prep time, always plan for the unexpected, budget 15% more then what you had and above all, have a good attitude, because the ship gets real small, real fast.

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PGA Website Quick Start Guide

Posted By Administration, Wednesday, December 19, 2012
Welcome to the new Producers Guild of America website. We have finally brought a simple-to-use, yet highly effective and robust membership service solution to you. We are proud to walk you through some of the tools and components of our new online destination.

In keeping up with the needs of our members, we have partnered with Yourmembership.com, a flagship, full service, back-end service provider. For more than a decade, YourMembership.com has been a leading global provider of online member communities and web-based membership management software. Their customers span all seven continents and range from associations to schools to multi-national corporations. Together with Dewey Digital, our website vendor partner, we have developed a custom solution using the plethora of toolsets available from YourMembership.com's web 2.0 communities and membership software solutions.

Below is a listing of some of the new website’s key features and toolsets. Please note that not every single feature is available at the present time—we’re still working on online dues payments, for instance—most of these features are ready to roll, and the "stragglers” will be available very soon.



The lack of a functional job site has really hurt our ability to connect people to employment. Now, with our new career center, the Employment Committee can leverage a fully-functional set of tools to help keep producers working:
  • Browse career categories
  • Search and view available career openings
  • Apply directly online for openings
  • Post and manage your career opportunities
  • View and export applicant information and résumés/CVs
  • Search the résumé/CV database of available candidates
  • Subscribe to receive email notifications of new openings
  • Subscribe to RSS career feeds



Now we can actually find each other’s profiles online:
  • Search by name, location, groups, profession, employer and custom data
  • Search members and non-members
  • Invite members to your connection lists
  • Quick-link to member profiles
  • View maps of member addresses
  • Email and message members directly from the site
  • Cross-reference on maiden names (if applicable)



Updating one’s credits listing and profile information is no longer an online puzzle. Paying dues online is not a pipe dream, but soon to be a reality. While folks can still pay by check if they wish, for those new-media-inclined bill-payers, online dues payment will make staying current a snap. Features include:
  • Maintain personal, professional contact information
  • Select from multiple membership dues levels
  • Pay dues online via credit card or "bill me" options
  • View payment transaction history
  • Manage recurring dues payment options



Our old site often froze up and did not allow online processing of new applicants. Now, new applicants can simply apply online and be sent into a holding queue until the Membership Committee has vetted their qualifications. Once approved, they can simply be flagged from the admin back-end and brought on board, or sent a rejection email with an explanation of denial. This simple process will make joining the PGA faster and easier and eliminate the "it’s hard to get my application in” excuse. Features include:
  • Lost password reset option
  • Membership dues payment
  • Recurring payment options
  • Username and personalized URL management



Kyle’s e-mail newsletter has been the single source of information for most regular Guild communications. Now, the website can be just as informative and provide details and media along with any news or announcement. Features include:
  • Browse blog-style news releases
  • View categorized news releases
  • Post and view comments on news items
  • Subscribe to RSS news feeds
  • Add social bookmarks to news items



Many have opted for third-party calendar systems like Eventbrite. Now, similar features are all on our site and can provide everything needed to get the word out about your next PGA event:
  • Register for events online
  • Purchase event tickets and items via credit card or invoice
  • View event registration attendee lists and comments
  • Read comprehensive event information and details
  • View event-specific photo galleries
  • Receive email registration confirmation
  • Receive reminder emails for registered events
  • View and print event location map
  • Read RSS event feeds
  • Add events to Microsoft Outlook
  • Send event Tell-a-Friend alerts



While we do not intend to compete with Facebook or Twitter, certain basic community features are critical to ensure a strong and well-connected producer community throughout the PGA. Some of these critical feature sets are:
  • Member Profiles
  • Networking Directory
  • Connections
  • Wall Features
  • Blogs
  • Forums
  • Photo Albums



Voting is a critical part of our efforts at the PGA. With the new tools, the main office and various boards and committees can quickly and effectively arrange for any voting initiative. Surveys and quizzes are also available making it easy to sample the opinions of our members. Features include:
  • Provide active feedback
  • View optional live graphical results
  • Participate in optional/required surveys
  • Cast your vote and see real-time results
  • Take online quizzes and see your score



As we continue to evolve our website into an industry resource and new business for the PGA, we will be asking members to provide their insights, expertise and wisdom by submitting articles, information and media. The new Wiki and media capabilities of our site make this a reality:
  • Edit wiki-enabled pages and content
  • View previous versions of, and notes on, wiki-enabled content
  • Upload and embed rich media file types including audio, video, presentations, etc.
  • Collaborate on group or community files posted within the file library
  • Upload documents to a group or community file library
There are many more features that you will discover in time. Please consider this to be a quick start guide, and know that we will be rolling out more features as time goes by. While we all know that producers are behind every story, now you have a website behind you. Please enjoy the site. It’s yours.

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