WebShowCentral - indie web TV down under by WebShowCentral / ViewfinderNZ

WebShowCentral No. 9

indie web TV down under (formerly Viewfinder mag)

INTERVIEWS »» HUMAN POSTCARDS »» LIVING BIG IN A TINY HOUSE »» ENGAGE TV

REVIEWS »» AGENCY

CREATORS’ »» MAKING SUCCESSFUL WEB SERIES »» STORYBOARDING

PLUS: »» WHAT TO WATCH ONLINE

FROM THE EDITOR This issue we highlight some of the web series, short films and YouTuber shows you’ll find on Web Series Channel and Web Show Central.TV; all available to watch for free, whenever you like. There is some fantastic local short form content available to keep you entertained during these long winter nights. We talk to the creators of the internationally popular YouTube channel Living Big in a Tiny House. Bryce and Melissa are documenting the build of their own tiny home as well as sharing stories of other tiny homes around the country. If you’re a digital creator our article on Making a Successful Web Series is a must read. We include lots of gems from industry experts during a Vancouver Web Fest panel discussion. There was lots of interesting discussion about exclusivity and the release schedule of your web series. Using a windowing schedule similar to the film industry gives you the opportunity to promote your web series each time you release to a new platform, and to draw in new audiences each time. There were some rather unique (and potentially controversial) ideas about smarter business models to fund your web series as well.

We’d love to connect with you – check out below our various social media channels and our new groups designed to stimulate collaboration between digital creators. Enjoy!

Fiona FIONA POWELL Editor/Publisher WebShowCentral.TV www.WebShowCentral.TV email: fiona@WebShowCentral.TV Ph: 021 1712 301

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WebShowCentral is the official

magazine of WebShowCentral.TV and WebSeriesChannel.co.nz. The home of indie web TV down under. WebShowCentral magazine (formerly Viewfinder magazine) is published four times a year by Ferb Media.

EDITOR/ PUBLISHER: Fiona Powell fiona@WebShowCentral.TV

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ARTICLE SUBMISSIONS: We welcome article submissions to WebShowCentral.TV. Email Fiona at fiona@WebShowCentral.TV ISSN 2423-0391 (Print) ISSN 2423-0405 (Online) WebShowCentral (formerly Viewfinder) is a magazine for creators and fans of web shows down under, and the official magazine of WebShowCentral.TV and WebSeriesChannel. The views expressed in WebShowCentral are not necessarily those of WebShowCentral and Ferb Media, nor does the advertisement of any product or service in this magazine imply endorsement of it by WebShowCentral or Ferb Media. © Copyright WebShowCentral. All material appearing in WebShowCentral magazine is copyright and may not be reproduced without prior permission of the publisher.

CONTENTS

ISSUE 9 (WINTER 2015)

2 NEWS 4 REVIEWS: AGENCY Agency is a seven-part web series about a small creative agency in Wellington. By Rene Le Bas

6 WHAT TO WATCH ON WEB SERIES CHANNEL Including an International Web Fest Selection, a NZ Herald on Sunday favourite, a series funded by NZ On Air, an award winning series from Australia and a series coming soon.

8 NEW YOUTUBERS TO WEB SHOW CENTRAL 9 NEW SHORT FILMS TO WEB SHOW CENTRAL 10 INTERVIEW: HUMAN POSTCARDS Director Nora Jaccaud: We imagine each film as a 60-second dose of humanity that even the busiest person can enjoy.

12 INTERVIEW: ENGAGE TV Director Kerry Du Pont: Engage has always been about telling real teenage stories, and you can’t do that with adults reading from an autocue.

14 INTERVIEW: LIVING BIG IN A TINY HOUSE Creator Bryce Langston: It’s very exciting to be filming a web series in New Zealand that’s getting so much international attention.

18 CREATORS: HOW TO MAKE A SUCCESSFUL WEB SERIES Create individual titles for each web series episode, rather than an episode number – and other vital tips for creating a successful web series from the Vancouver Web Fest.

22 WRITING THE RECIPE – STORYBOARDING With storyboarding imagine you are looking through a camera lens rather than drafting down the action needed directly. By Warren Mahy, Shot Mechanics Ltd.

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(news)

NZ ON AIR WEB SERIES FUND NOW OPEN

NZ On Air is now calling for proposals for web series funding for 2015 and they hope to support up to five new web series (with up to $100k each). The web series fund was created in 2013 in response to the growing appetite for online series. In 2013 NZ On Air supported four web series from 54 applications. In 2014 five Māori web series were funded as part of a co-funding initiative with Te Māngai Pāho. Key Dates: 1 August 2015 – Application deadline 1 October 2015 – Successful applicants notified All proposals will need to clearly identify the target audience and outline a clear plan for how to reach them. Eligibility for funding rests on the overall idea and strength of the concept, but of equal importance is the production team’s ability to provide a sound plan for promotion and marketing. This year applicants will need to provide links to videos of an existing series, a pilot or an episode to convey your intended style and what you will produce. »» More info at: or more info visit: http://www.nzonair. govt.nz/digital/what-we-fund/dmf-webseries/#menu

»» And check out NZ Web Series Channel for examples of locally made web series (including NZ On Air funded web series) at www.WebSeriesChannel.co.nz

NEW ZEALAND WEB SERIES HIGH ROAD WINS INTERNATIONAL AWARDS Web series High Road was awarded Best Directing (International) and Best Production (Oceania) at the Montreal Webfest mid-May 2015. High Road has already made official selection, or nominated for awards, at ISA6 (Indie Series Awards), Hollyweb Fest, Seattle Web Fest, TOFF and the Melbourne Webfest. If you haven’t watched High Road yet, it’s a must watch; created and Directed by Justin Harwood, shot at Piha and starring well-known actors Mark Mitchinson, Jennifer Ward-Lealand, Luanne Gordon and Dani Mason. In Season Two, Terry Huffer is back with a new Radio DJ gig, his daughter comes to live with him, and he re-joins his old band for ‘that’ tour – but can he finally win (recently divorced) Shona’s heart? Season One was produced on a zero budget and Season Two received $100k NZ on Air funding. »» Watch Season one and two on Web Series Channel here: http://webserieschannel.co.nz/webseries/high-road/

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»» Read the article from our archives about the making of Season One and how High Road came about with Justin Harwood: http://webshowcentral.tv/behind-scenes-highroad-web-series/

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(review: web series)

Review:

AGENCY

BY RENÉ LE BAS

Agency is a seven-part web series about a small creative marketing agency in Wellington and the misadventures of its three hapless staff members.

The creators of Agency, having come from an advertising background themselves, bring an authenticity to the series that is inherently funny. A lot of people’s knowledge of the inner workings of the advertising industry comes from Mad Men, a show set fifty years in the past. Mad Men takes place in a hedonistic culture of womanising, whiskey drinking, and chain smoking. And while Agency does not take place in the 1960s, it is set in a world and a culture that most young professionals in Wellington will be familiar with. I’ve heard many stories of job interviews in the branding and marketing industries that aren’t so much job interviews as they are ‘Friday night drinks with the lads to see how well you fit into the team in a social setting.’ And Agency is very true to this world. While the ‘face’ of advertising may have changed over the past fifty years, the ‘culture’ is still the same. Now it’s run by hipster-fratboy-Don-Draper-wannabes who drink craft beer instead of whiskey. And this revelation is the most interesting thing about the series and the place where its most universal comedic potential lies. And having a lot of potential is the biggest compliment I can give the series. Through simply hearing what it’s about, I 

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was immediately drawn to watch it. Yet, having now watched all of series one, I don’t believe the series has found its comedic legs yet. The three main characters all have distinct personalities that should be able to generate stories. Summer (Samantha Reed) is the airy-fairy creative type. Tom (Benjamin Forman) is the obnoxiously earnest head of the company. And Duncan (co-writer Glen Puklowski) is the awkward straight man who reacts to the other two’s more absurd personalities. At least that’s how it starts out. Each ten-minute episode focuses on one event or ‘sketch,’ and the personalities of the three leads change drastically depending on the plot requirements of each sketch. In one sketch, Duncan is yelling at Summer for screwing up a film shoot with her airy-fairy creative ways, and in the next, he’s being her demure assistant while she’s being a hardnosed, authoritative Devil Wears Prada style boss. While this inconsistency in characterisation wouldn’t be a problem in a more sketch-based series like Portlandia where Fred Armisen and Carrie Brownstein are playing different characters in every sketch, it makes it harder to invest in the exploits of the characters in this series.

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Location shooting in some of the city’s most iconic bars and cafes makes Wellington a vital character in the series.

And it makes moments like the drunken camaraderie between the three leads in the series-ending Christmas party feel unearned. Because the main characters are so heightened already, the clients they interact with have to be even more heightened, often to cartoonish levels, like the tobacco man in The Tobacco Man or the titular Man of 1000 Coffees. Agency also doesn’t seem to know whether it wants us to root for or against its characters. The characters will often act like horrible people in a similar way to the characters on Peep Show or It’s Always Sunny in Philadelphia. But unlike those two shows, Agency doesn’t always seem to be aware of how horrible its characters are. The episode Amazing Races, which is about putting together a ‘we are the world’ style campaign video with various ethnic groups, has a very clever punch line to end the episode on. But the path the episode takes to get us there borders on enforcing tokenism and making fun of diversity and is quite uncomfortable to watch – especially because all the characters involved are entitled white people. There’s a fine line between satirising an issue in a constructive way and actually enforcing that issue and Amazing Races, definitely toes that line. The episode features a client who’s demanding they cast every single ethnicity in the campaign video (“what’s that one that went up the mountain with Edmund Hillary? Sort of a mix between Asian and Indian… oh, and proper Indian too”) and have subtitles for the hearing impaired while translating the video into multiple different languages (including braille). The emphasis of the scene isn’t on how offensive the client is being, but rather on how outrageous her demands are in sort of a political-correctness-gone-mad sort of way (while also being racist). And while I admire Agency for aspiring to be subversive, this sequence ended up being more offensive than it was funny. It’s moments like these that are indicative of how Agency has yet to find its footing as a series. While its concept has a lot of promise, the edgy and subversive comedy it aspires to hasn’t been completely nailed yet. The series’ production values are very impressive,

particularly Matt Henley’s cinematography and Joel AnscombeSmith’s sound design. Both are some of the best I’ve seen in a web series, local or otherwise. The aerial shots of Wellington and location shooting in some of the city’s most iconic bars and cafes also go a long way towards making Wellington a vital character in the series. While the human characters in the series still have a long way to go, I do feel Agency is worth a watch. Comedy, particularly satirical comedy, is one of the hardest genres to get right and I applaud what this series aims to do. Many great comedies don’t find their voice until their second series (see Parks and Recreation and the US version of The Office…). And Agency is already a uniquely kiwi, and distinctly Wellington series. And for these reasons alone Agency is worth keeping an eye on. I do feel with some tweaks it could join the greats like Flat3. Watch Agency: http://webserieschannel.co.nz/webseries/agency/

OVERALL RATING: STORY: CHARACTERS: PRODUCTION VALUE: René Le Bas is a kiwi-born, American-raised screenwriter, tutor, reviewer, blogger, and script consultant. He earned his Master’s in Creative Writing through Victoria University’s International Institute of Modern Letters, and currently runs writing workshops through the Emerging Artist’s Trust. His consulting services can be found at https:// renegadeconsulting.wordpress.com/ and his thoughts on the screen trade can be found https://nzscreenwriting.wordpress.com/.

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WHAT TO WATCH ON

WebSeriesChannel.co.nz

(FOR FREE)

INTERNATIONAL WEB FEST SELECTION

IF THESE WALLS COULD TALK (6 EPSIODES)

A web-series that takes a closer look at the practice of some of New Zealand’s best street art and graffiti artists. Created and presented by Ross Liew (from the much vaunted Cut Collective), If These Walls Could Talk focuses on five street artists looking at what compels them to paint outside, what drives them artistically, and how they navigate identity, community, ownership and the creative process. »» Watch here: http://webserieschannel.co.nz/webseries/walls-talk/

FEATURED

ROAD TRIP (9 EPISODES)

A fictional drama following Sarah, an uptight Canadian, and Beni, an overly-relaxed Tongan – who are forced to travel the length of the country together. The two characters visit local towns and tell the stories of New Zealanders which may have been heard by local communities, but not by the rest of the country. »» Watch here: http://webserieschannel.co.nz/webseries/road-trip/

NZ HERALD ON SUNDAY FAVOURITE

CRUMBS (10 EPISODES)

Follow Lieutenant Magnum Bap, Detective Tickleberry and Detective Choc Brown as they clean up the mean streets of Cityopolis. Together they are, C.R.U.M.B.S. Taste the justice! »» Watch here: http://webserieschannel.co.nz/webseries/crumbs/

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FUNDED BY NZ ON AIR

WOODVILLE (6 EPISODES) Sid is a documentary maker who has never made a documentary. He’s just been given loads of money by the Woodville Arts Council (WAC). They want him to go out and make a documentary about how the people of Woodville took on the might of the Belgian Petrochemical Corporation, and won. Kind of like that Erin Brockovich lady. With less, y’know, cleavage. »» Watch here: http://webserieschannel.co.nz/webseries/woodville/

FROM AUSTRALIA

WASTELANDER PANDA (SEASON ONE – 3 EPISODES) Wastelander Panda is a post-apocalyptic adventure series about Arcayus – the last mutant panda of the Wasteland, and Rose – a human girl raised by Arcayus’ brother, Isaac. Together, they set out on a journey of redemption, seeking to avenge Isaac’s death. »» Watch here: http://webserieschannel.co.nz/webseries/wastelander-panda/

COMING SOON

SIDES (TRAILER) A scathing and hilarious black comedy set in a New Zealand film talent casting agency, where over the course of a day a dysfunctional set of actors all audition for the part of the “Pilot” in an American Production about a zombie infested airplane about to crash into L.A. »» Watch here: http://webserieschannel.co.nz/webseries/sides/ webshowcentral magazine | webshowcentral.tv

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NEW TO

WebShowCentral.TV

YOUTUBERS

WHITE MAN BEHIND A DESK Robbie Nicol has made three six minute YouTube videos (including Money and the Media and Invading Iraq) and he’s already internet famous in New Zealand media circles where he’s touted as the YouTube comedy-satire version of John Campbell.

ADMIRALTY ENTERTAINMENT WHISKEY AFICIONADO The Team at Admiralty Entertainment (Sku, Scott and Kate) are a small group of friends from Auckland with a common interest in all things geeky and who love making YouTube videos that reflect that. They launched their channel in 2014 and upload videos each Friday. Toy and movie reviews are their main focus on their YouTube channel but they say; “we also create our own ‘Supercuts’ & “Mash-Ups’ of movies too. With the odd ‘Unboxing’ video thrown in there for good measure. “We like entertaining people, that’s why our videos have a comedy edge to them as well as being informative.” »» 

Find YouTubers at: http://webshowcentral.tv/youtubers/ webshowcentral magazine | webshowcentral.tv

Love a drop of Whiskey? Then check out the Whiskey Aficionado YouTube channel, produced and presented by New Zealander Trevor Johnston. Trevor reviews whiskies from around the world on a regular basis for his channel. Trevor says the motivation for starting a Whiskey review channel came from when he stopped drinking beer to lose some weight. “As I enjoyed the occasional whisky I decided to learn more about it. Consequently I began to research and learn and share my tasting experiences online.” Trevor chose video and YouTube as the medium for his reviews because he prefers watching reviews, rather than reading them. Trevor started his channel just eight months ago and already has over 1,000 subscribers from around the world.

NEW TO

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SHORT FILM

OVER THE MOON Over the Moon is a feminist space adventure about kick-ass comic book heroine Connie Radar as she attempts to prevent the first moon landing. Award-winning director James Cunningham and the talented visual effects students at Auckland’s Media Design School bring The Comic Book Factory heroine Connie Radar

and her bumbling sidekick Julius to life for this intergalactic comedy. Fifteen third-year Bachelor of Art and Design students worked for 23 weeks and 18,000 hours to complete the film. »» Watch here: http://webshowcentral.tv/watch/over-themoon/

MESSAGE IN A BOTTLE This short video is a poem written and performed by New Zealand filmmaker Harley Neville, of Pigville Productions, and animated by Joshua Marchant. Harley says he got thinking about how much plastic he must have used in his life which in turn lead to him visualising

the size of the mountain of plastic he must be responsible for if he piled up every piece he had ever touched. »» Watch here: http://webshowcentral.tv/watch/messagein-a-bottle/ webshowcentral magazine | webshowcentral.tv

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(interview: web series)

HUMAN POSTCARDS Everyone is a story.

Human Postcards is a web series project involving one minute video portraits that take audiences into the lives and minds of a universal community; the often unnoticed ‘invisible’ people.

Nora Jaccaud, Director & Producer and Arie Van Der Poel, Sound Engineer & Producer are exploring the world collecting stories that inspire them and making them into one-minute documentaries. Human Postcards is a personal project born from passion. Nora and Arie believe every person we meet, observe on the street, in a shop, behind a counter, and even the ones we don’t see, like the picker behind the fruit or the dairy farmer behind our milk, have thoughts worth hearing, worlds worth seeing; that we have a lot to learn from them. Born and raised in an artists and writers residency in France, Nora developed an ability early on to listen, watch and assist artists. “The camera allowed me to explore unnoticed worlds with a special attention for the beauty of the invisible,” she says. Nora says the original inspiration for Human Postcards came from a sandwich man standing at the corner of Regent Street and Oxford Street in London. “His ‘absence’ to the crowd made him ‘present’ to me,” she says. She wanted to know who he was, what was he thinking, and what he daydreamed about. “The concept for this project was to talk, film and listen to people who are often unnoticed by our busy urban lifestyle,” says Nora. “As we started filming we realised that the project was growing to be more than something about ‘invisible’ people, and that everyone had stories, lessons, and dreams to 

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pass on. So I guess the project evolved into a universal belief in humanity, beyond expectations.” The pilot episode for Human Postcards was made in France, as the couple were working in Europe at that time. “We chose to start our travels in New Zealand because of Arie’s Maori origins, and for the past four months we have encountered incredible people everywhere over the course of our journey.” After New Zealand, the couple will travel to Australia for a short period, then Bali and Japan to continue the project. The one minute format was derived from the idea of a postcard. “We want to capture the essence of a person at the time that we meet them, and send that experience like a postcard to our loved ones. We imagine each film as a 60-second dose of humanity that even the busiest person can enjoy! “The format also lets us strike a good balance between travel and work. As all the post production is done from the back of our camper-van, limiting the length of the films keeps us moving in our travels,” says Nora. The couple normally film their subjects for 45 minutes depending on the scene, followed by a 30 minute interview. “Post production takes about one working day per episode, and then we’re busy managing our website and social media channels, to get the message to our followers,” says Nora.

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We imagine each film as a 60-second dose of humanity that even the busiest person can enjoy!

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And on the technical side of things; “We shoot on a Panasonic GH4 with Lumix and Voigtlander lenses. We also carry an assortment of Sennheiser microphones for different situations, with Sound Devices preamps, and Rycote wind protection.” When it comes to choosing subjects for the documentaries Nora says they travel with an open mind, “and the project has made us more attuned to every encounter than ever before. We believe that Everyone Is a Story, and the experience of the past three months has proven it. The choice is as big as the world is populated. “However, we choose the people the same way we choose our friends in life. Somehow a special connection happens and we often jump into it without wondering why or how. Sometimes a smile is enough, like Shane, who was helping a friend move cows down the road in Russell. Sometimes it’s Emma at the grocery store, advising us on the best anti-mosquito spray after our first sleepless night in the van. Another time it’s John, competing at a wood chopping competition against men half his age. Just like the other portraits, these three examples are no exception… We never knew what we were going to discover. “It was a surprise to discover that Shane was not a farmer, but a school bus driver who is extremely involved in the evolution of education in Northland. “It was a very moving, intimate moment to hear Emma tell us about the loss of her partner in a motorcycle accident, and the lesson this experience had taught her. “It was inspiring to hear John show his fear of old age, when interviewing him just after he had won another round of the competition. “Another powerful aspect of these postcards is the attention we give to our subjects,” says Nora. “The homage we pay them is very dear to our hearts as the time we spend with them is always an exceptional moment.” To date the couple have filmed 34 Postcards all over New Zealand, from Stewart Island to Cape Reinga. “It is an ongoing

project that we hope to continue indefinitely,” says Nora. The project is developing a loyal following. “It’s a joy to see people enjoying and interacting with the project, regardless of their age group, culture, gender or location in the world,” says Nora. “Most of all, it’s heart-warming when someone tells us that they not only love the project or a particular portrait, but that after watching, they feel inspired to talk more to the next person they encounter that day. Feedback like that fuels us to make more films!” The funding to help start the project came from Andre Ullman, director of a HRA Pharmaceuticals in France. HRA Pharma Foundation funds many non-profit organisations, such as projects and schools focused on women’s rights in developing countries. “In 2014 we approached Andre, and he believed the project could be something special,” says Nora. “This funding helped to purchase some of the equipment we needed to make these films, but our daily costs, such as additional equipment, travel and food comes from our own pockets. We are also a registered non-profit organisation, allowing us to take donations for the project via PayPal.” And the future? “The only plan we have is to continue to release one film per week, and to keep seeking out beautiful souls as we travel more in the world,” says the couple. Watch the web series: http://webserieschannel.co.nz/webseries/human-postcards/ www.humanpostcards.com www.facebook.com/humanpostcards webshowcentral magazine | webshowcentral.tv

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(interview: web series)

ENGAGE TV KIWI TEEN CULTURE Engage is New Zealand’s only web series for teens, presented by teens. The new series focuses on Kiwi teen culture... The good times, the bad moments, and everything in the middle. The mission of Engage is to offer advice, and share stories, so teens are better prepared for the things that might come their way. Engage is not entirely new though. Way back in the late 1990’s, a group of Invercargill teenagers made a half-hour weekly magazine show about teenage life called ‘Engage’, which started on Mercury TV in 1998, and by the third season in 2000 it was screening across all regional stations. Kerry Du Pont was directing those episodes. “I was a freshfaced 18 year old guy who wanted a career in TV. After the series concluded, everyone went their separate ways, and for the next 15 years I did indeed find a fantastic career in television, as did many others on the cast and crew,” says Kerry. A few years ago Kerry teamed up with two of the original production staff (Jade Gillies and Phil McGrath), and together they thought that Engage would be a great project to re-boot for the Internet age. Kerry approached NZ On Air for funding; but after several rejections, he realised they would have to launch the series with their own funding and energy. So ‘Engage.tv’ was born. Series One is currently online at http://engage.tv and http:// 

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youtube.com/engagedottv and it’s made up of 20 short episodes spread over four weeks. The cast of Engage are a group of teenagers from Cashmere High School in Christchurch. “I first heard them on Plains FM, where they host a fortnightly radio show called ‘Something Millennial’. I approached them; they were excited to further their broadcasting experience, and over about four weekends we recorded all the material for Engage,” says Kerry. “The general aim for the series is to be the ‘answer’ to a question that any teenager will have about life, whether it’s relating to something they are going through right now, or something they see happening on the horizon,” says Kerry. “Some of our ‘lighter’ topics are things like how to organise a party, how to make homework suck less, and how to keep your parents out of your online life. But we’re not afraid to deal with the more ‘heavy’ topics, like seeking health advice, how to start a relationship, and how to deal with discrimination.

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The main thing that sets us apart from other similar shows is the open and uncensored banter from our hosts. Engage has always been about telling real teenage stories, and you can’t do that with adults reading from an autocue. Life as a teenager is such a fantastic and exciting time, and Engage is here to remind our viewers of that, so they can always choose to live life to the full.” Engage TV is a very small operation. Aside from the early development where Jade Gillies and Phil McGrath helped to flesh-out the idea, it’s entirely directed, shot and edited by Kerry himself. “It will certainly reach the point where I’ll enlist camera-savvy teenagers to do a lot of the production work, which is how I originally started in television myself, and there’s nothing I’m doing that an educated teenager couldn’t do today,” says Kerry. “Perhaps by season two or three we’ll see teenagers behind the lens, instead of just presenting.” For those interested in the technical side of Engage, Kerry is shooting it on a Canon 60D with a Canon 50mm F1.8. The presenter wears a Sennheiser radio mic, which gets recorded into a Tascam DR-60D recorder (in addition to wild sound from a Rode ‘VideoMic Go’). “The mix is also sent to the camera (for synchronisation in post) but the sound on the Tascam is preferred as it’s very clean and noise-free,” says Kerry. If there is a second presenter in the shot, they’ll be wearing a Rode SmartLav, which records a wave file on the Rode Rec app on an iPhone 6.

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Engage has always been about telling real teenage stories, and you can’t do that with adults reading from an autocue.

Post-production is handled by the Adobe Creative Cloud suite. Footage is first imported into Premiere Pro and synced up, before being filed into bins for the various topics each episode will cover. “Organising your shots is an important step, because you may shoot footage which won’t get edited for another three or four weeks,” says Kerry. The audio/ video syncing is handled only by Premiere Pro using its builtin functions. “I’ve considered using Plural Eyes to make the process faster, but Premiere has so many DSLR-friendly features now,” says Kerry. Once cut, the episodes are sent to Adobe Audition for levelling, compression and EQ. “I shoot on a very flat profile on the 60D, and have a set of pre-defined looks created in Adobe Speedgrade, so the final step is to apply the Lumetri colour looks to each source reel. And then comes the painfully slow part... Uploading to YouTube!” Now that the first season is live, Kerry is contemplating working on a second season (“with more variety, and more niche episodes”). Website: www.engage.TV Watch: http://webserieschannel.co.nz/webseries/kiwi-teenage-lifeculture/

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LIVING BIG IN A TINY HOUSE (interview: series) (interview: web YouTube)

(A top 25 YouTube New Zealand channel) 

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Bryce Langston and Melissa Nickerson are building themselves a ‘tiny house’ – and they’re documenting their journey and sharing other tiny home stories and DIY tips on their YouTube channel Living Big in a Tiny House.

The Tiny House movement is a big movement worldwide; and with coverage from New Zealand media and lots of interest from overseas, the couple’s YouTube channel currently sits as the 24th most subscribed channel in New Zealand, beating the All Blacks channel, and climbing fast. One video of a castletype tiny home has over three million views alone. Bryce, who has worked professionally in the Film Industry for over 10 years in front and behind the camera is the ‘presenter dude’ in the series, and Melissa, a videographer and photographer is the ‘camera chick’. Their YouTube journey started in 2013, and they now have 80k subscribers to their channel and 14k followers on Facebook, along with followers on other social media channels including Pinterest. We talked to Bryce about the tiny home web show journey.

WHAT WAS THE MOTIVATION TO MAKE A WEB SERIES ON BUILDING A TINY HOME, WHILE BUILDING YOUR OWN? I wanted to film our process of building the tiny house because I really wanted to help empower people. There are

so many young people around the world who have given up on the idea of owning their own home because of the soaring house prices (especially in cities such as Auckland where I currently live). Tiny houses give an alternative to being stuck in the rent trap. They’re good for people as they give housing security and freedom from debt, and they’re good for the planet because it encourages people to check their consumption and become aware of their true needs. I’m really excited by movements that have the ability to create positive social change and so throwing myself into the filming of the series felt like a very natural step. Right from day one Mel was on board too and her incredible videography has been a huge contributing factor to the success of the show.

HAVE YOU BEEN INSPIRED BY ANY OTHER SHOWS ONLINE? Probably the biggest inspiration so far has been a YouTube documentary called ‘We The Tiny House People’ by Kirsten Dirksen. It was my first introduction to the Tiny House movement and when I watched that I was incredibly inspired.  webshowcentral magazine | webshowcentral.tv

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Networking with bloggers and writers has been a huge part of growing the channel.

Prior to that documentary, I was planning to start work on a small earth house, but seeing these homes built on trailers and thus removing the problem of land ownership was like a lightbulb going off in my head. It made such great sense, and I just thought to myself “we need to be doing this in New Zealand!”

WHAT HAVE BEEN THE CHALLENGES SO FAR? I would say the two major challenges are the build of the tiny house itself, and time. The build is complicated because we’re doing something that hasn’t really been done before. The criteria of our build, the materials and technologies are in many cases a world first, and so there have been a lot of challenges there. We’ve also had a lot of expert help though which has been great and in the end I feel like we are building something that will really be worth all the hard work. The other big challenge with filming the series is time. We put a lot of work into making the videos and especially when working other jobs it does make it difficult to always create constant content. As the series has grown though it has got much easier as we’ve both been able to cut down on other work and focus more on Living Big in a Tiny House.

YOUR SUBSCRIBERS AND FOLLOWERS ARE GROWING RAPIDLY – HOW HAS THAT HAPPENED? The growth was very organic. I think it’s a subject that is relevant for so many people, and there is just something incredibly romantic about the idea of Tiny Homes. They are cool, quirky, in many cases incredible clever designs and so the content is very sharable. Later, as our channel started to grow we also had quite a big boost from larger international websites, many who now often feature our new videos. Networking with bloggers and writers has been a huge part of growing the channel. Our audience is spread all over the world. Our largest following is in North America, which makes up about 40 percent of our viewing audience. That’s followed by New Zealand, Australia and then the UK. It’s very exciting to be filming a web series in New Zealand that’s getting so much international attention.

IS THERE AN OPPORTUNITY TO MAKE A FULL TIME INCOME FROM YOUR YOUTUBE CHANNEL? We’re not fully there yet, but it certainly is possible. The YouTube partner program can be really great and it does generate some income. I think certainly for people who run successful vlog channels where maybe the cost of production isn’t so high it makes a lot more sense. I don’t feel that YouTube 

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is currently set up in a way that production companies will be able to view it as a sole distribution method and rely on Adsense and the partner program alone to cover costs and generate a profit. As it stands right now I think it’s important for producers to work with sponsorships in order to make it really work. Websites like Patreon (which is a bit like Kickstarter but for ongoing creative projects) may hold the key to being able to successfully crowdfund popular web series in the future. After all, who wouldn’t pay 50 cents or a dollar every time our favourite show put out a new episode?

CAN YOU TELL US ABOUT THE EQUIPMENT YOU USE FOR THE VIDEOS? We designed our equipment around the needs of documentary style filming. We needed to be mobile and able to quickly film stories in tight spaces. We film the bulk of our video on a Sony NX30. It’s a fantastic little camera and the balanced optical steady shot function helps to keep everything smooth and looking good while following quite fast action. For detail shots and our more artistic filming, we film on Nikon DSLR with some great lenses. For lighting, we work mostly with natural light, but we do bring in an LED lighting kit when we need to boost light. Getting the sound right has been really important, and we do mostly use radio lapel microphones. To help improve production we have also recently brought in new equipment like a mini jib and a camera drone. As the audience grows it makes more and more sense to get the right tools to do the job really well and (hopefully) increase the quality of the content for our audience to enjoy.

THE LIVING BIG PROJECT MUST TAKE UP A LOT OF YOUR TIME; WORKING WITH SPONSORS, FILMING, EDITING, TRAVELLING FOR STORIES? It certainly does. It’s a labour of love though. We both really enjoy generating the content and being proponents of this amazing movement. A lot of it really doesn’t feel like work either. We get to travel to amazing places, meet incredible people and we are always learning new and interesting things. There’s a saying that if you love what you do, you never work a day in your life. I think that’s really true and I have always tried to work jobs that I’m really excited about.

WHAT’S THE FUTURE FOR YOUR YOUTUBE CHANNEL? (AFTER THE BOOK AND FEATURE FILM!) Our plan at the moment is to continue to grow the channel.

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Websites like Patreon may hold the key to being able to successfully crowdfund popular web series in the future.

WHAT ARE YOUR THOUGHTS ON THE FUTURE OF MEDIA CONSUMPTION? ARE ONLINE SHOWS LIKE YOURS THE WAY OF THE FUTURE? I think that the traditional forms of media consumption are unquestionably on their way out. Certainly all of the media that I consume is online and I see that being a major trend amongst my generation. People want to watch content in their own time, and in their own way. It’s very exciting because it makes shows like Living Big in a Tiny House possible. Without the internet, it’s unlikely that we ever would have got network

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We’ve got some great ideas for future design projects (although I won’t say too much about that right now). There is lots of room to explore some great untapped areas of small space design though. We also plan to begin doing some international videos. Most likely over the summer we will spend some time filming in Australia, and in some other areas around the globe where there are some great projects underway.

support for the show. This way, the audience gets to decide what’s worth watching. Networks are no longer able to solely decide what people will watch. I think that’s great.

IS THERE ANYTHING ELSE YOU’D LIKE TO MENTION? When we started filming Living Big in a Tiny House we had no idea that it would take off like this. It’s such an amazing ride and I am so thankful to our wonderful audience who continue to watch and share our videos. It means so much that so many people have got behind this project and both Mel and I are very grateful.

www.livingbiginatinyhouse.com/ www.youtube.com/user/livingbigtinyhouse/about Patreon: www.patreon.com/livingbiginatinyhouse

webshowcentral magazine | webshowcentral.tv

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(folio: creators)

HOW TO MAKE A SUCCESSFUL WEB SERIES During the Vancouver Web Fest the Independent Production Fund (IPF) presented a panel discussion giving some insider advice on how to make and launch a successful web series.

The IPF has invested $7 million into 70 web series over the past five years. The web series industry is evolving quickly; projects funded five years ago would not be funded today. Yet the evolution continues as we are still pioneering; what might work content and business wise today may not work tomorrow. Here’s what we learned from the discussion.

DON’T OVER TELL THE STORY You need to grab your audience straight away, so don’t fall into the trap of giving too much back story to set everything up. Your world will come through in your writing if you do it well. Many second episodes are better than the first because creators finally rock the characters and dialogue in the second episode. Unfortunately the first episode has killed it for the audience. Trust your audience!

IDENTIFY YOUR AUDIENCE Who are you writing for? Is your audience female or male, what’s their age group, and where are they hanging out; YouTube or all platforms? How will 

you target your audience on each of the different platforms? (Snapchat, Vine, Facebook etc).

FIND YOUR NICHE AUDIENCE AND CATER FOR THEM Don’t be tempted to think everyone is going to love your series. Know your content, identify your market. Put your energy into getting the right eyeballs and these people will become your advocates and spread the story for you. But make sure your niche is a large enough audience. Remember, online audiences are generally younger – there aren’t many popular senior web series because those audiences watch traditional TV.

RELEASING ON A SCHEDULE VERSUS IN A BATCH Most audiences won’t wait a week for short episodes of three minutes and under. If you only have a set number of episodes then you might want to release them in a batch so audiences can binge watch. Release scripted series with longer

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episodes weekly or on some other schedule to enhance the ‘water cooler’ effect and give people time to fall in love with the characters. Your audience gets accustomed to what you have taught them so they will tune in to your release schedule. If people want to binge watch they can wait until all the episodes are released. A scheduled release gives you an opportunity to promote the series and it can also help with the production schedule.

UTILISING FACEBOOK VIDEOS Facebook users tend to allow the default setting of auto play for videos in their news feed; so the first three to five seconds of your series will auto play with no audio. Think about how you can grab and engage your audience as they scroll through their feed and see your video with no audio. (If you have an intro and a voice over you’ve lost them.) Then think about how you can then bring them back to your website or YouTube channel (because Facebook views aren’t monetised!)

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Don’t create titles with an episode number; instead create individual titles for each episode.

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CHOOSE THE RIGHT PLATFORM Study the different platforms – including the new platforms from Twitter and Facebook - Daily Motion, Vimeo, Vessel, even your own website. There are lots of options to consider before you slap your series online.

LENGTH OF EPISODES? Some creators are making scripted web series that are a minute and a half long; and they’re on Season 12, Episode 50 – so there are no boundaries. More episodes gives you more of an evergreen series as opposed to a brief window of release. You can continue to tell your story and build your community.

CONSISTENCY IS KEY To build a sustainable audience you have to follow up with more content; you can’t produce a series and just leave it to languish.

GET EXPERIENCE Get as much content up as quickly as you can. By your twentieth web series you’ve

probably found your voice and have got the ability to make shows, and found a community that supports low budget ventures. If you’re making your first or even your tenth web series you’re probably not experienced enough to make a lot of money doing it.

EXCLUSIVITY OR ALL THE PLATFORMS? As a new creator, trying to get a show out there to prove you can do it, do everything possible to get as many eyeballs as possible during your first years making web series, so be everywhere. When you begin to think about making money, you have to think about exclusivity. Some platforms (like Daily Motion) may want a couple of days window of exclusivity; leverage what you can out of each platform.

WINDOWS OF RELEASE How you utilise each platform plays into the structure of your window of release; it’s not as simple as releasing onto all the platforms and waiting for the views to count up. You have to hustle

to gain those views, and build your audience and community. Get more bang for your buck (and for your time) by using a windowing concept from the feature film world when releasing your show. Use your limited amount of resources and focus on each scheduled window of release, until you’re eventually on every platform. You then get a chance to launch each time like it’s an exciting new show.

MAXIMISE YOUR AUDIENCE Help people discover your content - consider keyword optimisation and thumbnail optimisation. Understand who is engaging with your content, understand when is the best time to upload your content to attract the most viewers, and learn which territories are consuming your content.

EMBRACE THE CONCEPT OF CLICK BAIT Viewers probably aren’t going to watch a video called The Gift episode 15; if they haven’t seen episode one you’ve lost them. Don’t create titles with an episode number; instead create individual titles for each episode. 

webshowcentral magazine | webshowcentral.tv

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for investors to recoup their money. You don’t necessarily have to have a big budget and make something of super high quality. The Haunting of Sunshine Girl, makes short form content on a very low budget but she’s built her subscriber base to over 200,000 subscribers which has led to a book and movie deal. There are content creators that are now making a living off producing their content online but it took them years to build that audience; it didn’t happen overnight.

ENGAGE WITH YOUR AUDIENCE

Brands only work with creators once they’ve reached a certain level of traction, as they’re also looking to reach an audience. But even then, brands tend to be very conservative. Lifestyle series are a little easier to bring in brands, rather than drama, but you still need to have the reach. It’s difficult for a drama to go viral on an ad based platform (like YouTube) that’s not pushing the show for you. If you are determined to get a sponsor for a drama you need another hook besides the story, and besides even a track record - like an actor signed on that the brand wants to be associated with. Consider sponsors that Google Adwords will not sell advertising for; and go after these companies for sponsorship if it fits your show (eg alcoholic beverages, adult products).

FINANCING AND REVENUE MODELS From day one it is important to know what budget is required to give you enough production value in order to make your show sustainable. Crowdfunding is still your best bet for financing – as currently it’s difficult 20

BRANDS AND SPONSORS

SMARTER BUSINESS MODELS Rather than try and get funding for your passion project, your creative web series, use your experience as a

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filmmaker - who can tell a story - to gain a commercial deal with a brand. Inflate your budget for the brand and use the difference from the actual costs to invest in the web series that you really want to make.

SUBSCRIPTION PLATFORMS NEED CONTENT Consider the growing number of subscription platforms around the world that will pay for exclusive content. You might look at multiple platforms (until they consolidate in the future) with a few tiers; the gigantic ones, then the next tier, and finally the more speciality ones.

PITCHING TO PLATFORMS Platforms like Daily Motion need proof that a show has a track record and an existing audience. An example is High Maintenance; for

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Why spend your money on locations? No one ever says; hey check out the cool location on this web series.

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Create bright flashy thumbnails in Photoshop and write the title of the episode in big bold letters on the thumbnail. While not artistically satisfying, the goal is to get people to watch it - so you have to do those ‘tricks’ that the internet likes. Do include episode numbers on your website though; so when audiences google for the next episode they can find it on your website – where you might be able to attract them to engage more with you. Web series like Out With Dad have crowdsourced ideas from their audience, giving the audience more ownership of the series. The producer also crowdsourced sub-titles from his fan base for other territories like France, Spain and Germany, giving him traction in other markets. Develop a community around your characters - create fake Twitter accounts of the characters. Have the actors in your series tweet every time there’s a new episode. Engage with each platform. Don’t just release on different platforms to see how many views you’ll get. Actively engage with audiences on each platform (YouTube, Vimeo, Daily Motion etc).

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Get more bang for your buck by using a windowing concept from the feature film world to release your show.

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its first season it was free to watch. Then Vimeo picked it up as their flag show. They didn’t commission a brand new series, it was an existing series that was proven with a built in audience.

KEEPING BUDGETS DOWN College Humour finds crew who are hungry, excited and very talented but who haven’t had the opportunity to showcase their talent. Sometimes they are willing to work for very low money in exchange for an elevated job description. While you can get away with having lower production quality on the internet – you must spend money on sound. Audiences will watch an iPhone movie, but if they can’t hear people talking they’re not going to watch. Create a web series with a strong story that can be told in a way that’s fairly compact; an idea that is easily contained with not many locations.

Then you can spend money on two or three things that really matter, like polished performances.

back and get the creative process right with a pilot.

COLLABORATE

Even the most amazing shows don’t get views if they don’t spend money on marketing, or have a star to attract audiences. Why spend your money on locations? No one ever says; hey check out the cool location on this web series. Spend your money wisely so you have more to put towards your marketing and promotion.

YouTubers build their audiences by collaborating with other creators that already have a large subscriber base and they leverage each other’s subscribers. How can you cross collaborate with other channels and with other platforms; is there a way you can work with people, or produce content with people, that already have a track record or already have an engaged audience.

PROMOTION

For the full video on the panel discussion visit:

MAKE A PILOT Pilots help creators get the show down and help to figure out who or what you need to drop. Rather than rushing in; take a step

https://www.youtube.com/ watch?v=FqZRn1X4iGg

HOW TO MAKE A SUCCESSFUL WEB SERIES

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Panellists in the discussion were: (L to R)

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Audiences will watch an iPhone movie, but if they can’t hear people talking they’re not going to watch.

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Develop a community around your characters - create fake Twitter accounts of the characters.

Ali Adab, BroadbandTV - British Columbia Brad Danks, OUTtv Network – Brtish Coumbia Spencer Griffin, CollegeHumor California Carter Mason, JTS.TV - Just The Story - California Enrique Soissa, Dailymotion dailymotion Canada - Ontario Moderator: Andra Sheffer, IPF Canada - Ontario webshowcentral magazine | webshowcentral.tv

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(folio: creators’ corner)

Story boards are the first time a director will see the film visually come to life.

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WRITING THE RECIPE:

STORY BOARDING

BY WARREN MAHY, SHOT MECHANICS LTD.

Story boarding at an early stage in film production has the same benefits as does an architect’s drawings or a chef ’s Black Forrest Gateau cake recipe. Would you build a house without a plan? I guess if you had an experienced builder, you could, but I’d imagine it would take three times as long as normal and cost three times as much to get it exactly how you want it. And if you took your eye off the builder, it could end up looking like the ‘Crooked old Man’s’ house. The same goes for the cake, although you’d 

probably just lose it down the sink. Story boards are the first time a director will see the film visually come to life. ‘Boarding’ gives an opportunity for the director to figure out the most creative way the story can be told via the camera lens, how each shot transitions to the next, and how the scenes before and after fit according to the script. This is a time when consideration of the pacing of the story can begin, where the production team can look at the design of the elements required for each

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shot (think Transformers!) and it’s also a great time to do a ‘proto’ edit. The mind-set with story boarding is to imagine you are looking through a camera lens rather than drafting down the action needed directly. Imagine you ARE the camera in the scene and that through you, the audience will be enticed into the story. Depending on where you position your camera, it can either place the audience as bystanders to the scene or actually have them ‘feeling’ the action as one of the characters.

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Imagine you ARE the camera in the scene and that through you, the audience will be enticed into the story.

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Give a thought to the size of the frame and how the elements within it are situated. Perfect composition for every single frame would be impossible but as a story board artist you have the ability to at least put some thought into each panel and how the characters and the environment around them ‘breathe’. If you can imagine water flowing around everything smoothly within the story board panel, ask yourself if there are ‘choking’ points where elements would be better over lapping a little or spread further apart. Think about what the camera can do for your story. Not only is there a plethora of ‘tricks’ that can be used to get across a certain ‘feel’ (Dolly zoom’ etc.) but by considering your choice to ‘Pan’ instead of ‘Tracking’ the camera, you could tell your story from a point of view that maybe works much better for the

progression of the scene. The cost of hiring a camera crane could shock even the sturdiest of film budgets, but don’t let that curb the creative output at the beginning. Once you know what you would like to ‘say’ alternatives could be found, for example in a camera stationed out of a handy second floor window or on a tall ladder, the camera could then tilt/pan down to the action and will give you the coverage needed. It won’t give you exactly the same effect as a full craning move, but with a bit of lateral thinking on the placement of the camera and the movement of the characters etc. the audience could be just as captivated. Keep an eye on the use of the zoom button. Physically moving the camera in/ out with a fixed lens ‘feels’ more normal to an audience, giving them a sense of actually moving through a scene. The

zoom can be an awesome tool used in specific moments to heighten a moment of ‘enlightenment’ or ‘shock’ but can give a sense of being ‘out of body’ or can be misleading if used in the wrong occasion. Be wary of moving the camera unless the story is advanced by it. The audience should feel part of the scene environment not like they are on a roller coaster or strapped to a paint mixer machine. (Unless that’s your intention!) Watch films on mute to make it less likely you’ll be ‘pulled’ into the film. Grab the remote and watch a scene from beginning to end. You could define a ‘scene’ as a section of film where the camera, or cameras, follow a sequence of action that happens in one place at one time. Go back and pause the film on the beginning and end of each shot. Draw what you see. If it’s a shot that has a moving character, take note of where the character starts in the shot and where they finish, let that help you in build up an understanding of how and what to draw in the future when faced with a similar set of actions. Take note of the camera movement. Does the shot use a steady cam or is it hand held? Is it tracking or is it a pan? Notice how you, as an audience member, is made to feel when viewing the action through the eye of those techniques.

webshowcentral magazine | webshowcentral.tv

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The audience should feel part of the scene environment not like they are on a roller coaster or strapped to a paint mixer machine.

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Having a basic understanding of perspective drawing will bring your boards to life like you wouldn’t believe. The time spent on picking up a pencil (or Wacom pen), finding something to scribble on and practicing elements at an ‘angle’ just adds another exciting dimension to a panel. Obviously there needs to be a reason for the angle, but showing a ‘low’ angle on a character that looks like an M. C. Escher drawing because your perspective drawing sucks, is just going to confuse people. The story boarder’s job is to be a conduit from the script, through the director, to the drawn images. The process can be as simple as the story boarder reading the script and then cracking straight into the drawing with minimal input from the director. This is 

an awesome opportunity to develop your own ideas on how to shoot the film but also could be miles away in regards to what the director wants. Having a verbal breakdown of the script from the director, or preferably having the director compile notes and scribbles on a shot to shot basis, giving framing, lens size and camera movement is the quickest and most effective way to get true fidelity with the director’s vision. I would advise that if you are pinched for time, it is best to get the most information from the Director/Producers as possible. A complete breakdown for each panel can mean the difference between a three day slog to find the vision or a single day, where the director gets exactly what they want. Each panel doesn’t need to be fully rendered to

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express what the director needs, but the addition of simple grey scale shading can just make the panel ‘pop’ As is typical with all ‘rules’ in art, these ideas are there as a standard guideline, so just have fun and be creative! Basically, Story Boards, even if they are just filled with stick figures, showing the action, shot to shot, through the scenes with suitable direction to camera movement, are well worth the effort involved. (Think of the wasted Gateau cake!) Author: Warren Mahy is a co-director of Shot Mechanics Ltd. www.shotmechanics.nz Shot Mechanics provides Previs worldwide to the film, Advertising and Games industries.

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