While it’s easy to make broad generalizations based on very little evidence (hell, that’s what I do here, right?), it’s actually much more nuanced than that.

We’ll see what happens to STEP UP 3D this weekend, but we are clearly in the early stages of 3D adoption. I’m inherently skeptical that 3D is ever going to take over the film, tv and web content world, but I’m also waiting to see what will happen to movie 3D if television 3D becomes more popular. Once we become used to 3D on TV, will that make it a requirement in theaters, or will it simply cheapen the concept?

But it was a different sentence entirely that woke me up from this ongoing, every-present, 3D/2D discussion.

Speaking of Dreamworks Animation CEO Jeffrey Katzenberg, the article says:

He also thinks exhibitors will have to move away from its age-old, one-size-fits-all pricing model.

“For the first time in a long time, I think you’re going to see some adjustment on that,” he added.

One of the things that may be damaging 3D admissions right now is the three to five dollar admission price premium that theaters are tacking onto their normal ticket prices. While that’s fine for a cool event film, it’s probably going to mean the difference between a Yea or a Nay for a family of five deciding whether to see a film on a weekend. Think about it — with three kids, you’re already laying out over 50 bucks for tickets and another 30 or 40 for food. That’s about $100 before you even think about 3D. Add another 15 to 20 bucks for that incredible stereoscopic experience in CATS AND DOGS and you’ll probably get as many people saying “Nah, I heard that the film wasn’t so good” as say “It’s worth it just to shut the kids up for two hours.”

But Katzenberg’s point is well-taken. We expect that first class air flight is going to cost more than economy. We know that putting premium gas in our tanks will cost us more than regular. Don’t we? Why should we expect that every seat, in every theater in a multiplex, for every movie, will cost the same amount. It’s long been accepted that people going to see the less popular matinee performances of a film will pay less.  Isn’t that just another way of saying that people going to evening films will pay more? If that’s the case, why shouldn’t people who decide not to put on the 3D glasses pay less than those who do?

The key here would be to create a sliding scale for films that better reflects the demand for that experience. Would you pay 15 bucks to see the next HARRY POTTER film?  Perhaps, if you can guarantee me that I won’t have to pay anything more than 9 or 10 bucks to see the latest Nicole Holofcener film. I’m not saying this because PLEASE GIVE isn’t as good a film as the 58th film about Hogwarts School of Magic, but because fewer people want to see it. Think about it — this could be great for small indie films. Incentivise people to see indie films in a theater. Make it cheap to see them on a Wednesday night in a smaller theater without 3D. Make it a great alternative on Saturday night to the 3D/super Dolby-ized, VFX-heavy/big theater Potter and Snape. Then give me the opportunity to upgrade my indie ticket with comfier seats, reserved seats and better placement in the theater.  I’m there for you baby!

I’m not talking about ghetto-izing these films. The success of the Laemmle or Arclight style experience (with comfortable seats, good food and advanced seat reservations) proves that people will pay for value. But your definition of value is almost certainly different than mine. And the next person’s. If lower ticket prices are more important to you than comfy seats, then you should be given the opportunity to act on that. But once you leave behind the idea of one ticket price for every seat in a theater, then you’ve really freed yourself up for some great opportunities to bring people into the theaters, as opposed to driving them away.

The tricky thing here will be to avoid having theater owners gouge their patrons, and to avoid having film distributors gouging theater owners. One valuable service that the defunct, though not lamented, Hollywood Stock Exchange gave was a number which roughly correlated with people’s desire to see a film. AOL’s Moviefone provides similar data. This doesn’t mean that those numbers are always right, but they do lead the way to a pricing model that studios would have to take into account in order for theaters to price their tickets on a sliding scale.

In a world where theaters are competing with the Net for viewers, taking a cue from the web and letting viewers pay for content that they want might not be such a bad idea.

Post from: HOLLYN-wood by Norman Hollyn

Just What Can Movie Theaters Charge? And how that’s good for indies.

Shane also has an interesting entry on his blog at Hurlbut Visuals, talking about the digital workflow issues that he and his crew dealt with on a recent Navy Seals film (that he also talks extensively about in the podcast). In it he talks about media management, a skill which is sadly lacking in many crews who shoot file based cameras. There is an illusion that, because it’s easy to keep shooting, and because stopping to reload cards “interrupts the creative process” (as if decades worth of shooting 11 minute loads of 35mm couldn’t create good creative films), that media management is an impediment to creative filmmaking. Hurlbut takes the piss out of that one:

The unique skill set that my Elite Team brings is that they all have a film background and are comfortable with certain rituals that accompany being a motion picture film loader and 2nd assistant cameraman.  These include: managing the truck; keeping  track of the gear and specialty pieces of equipment; creating an inventory and log; assessing how many magazines you have to load and color coding it according to the stock; labeling the magazines with the date, job, film stock and amount loaded on the magazine itself; and writing a camera report with the same information.

When I see students of mine with disorganized editing bins, into which they’ve loaded unlabelled takes digitized from tapes that have not been sub-clipped for easy access, it drives me insane. One of the great advantage of digital editing is that it should make it easy to find anything that I need to create a finely edited sequence. If I have to scroll through a ten minute series of takes in order to find the one that I want, it’s going to stop my creativity much quicker than taking the 20 minutes to subclip and label each one of those takes before I edit them.

by the same token, dumping dozens of takes of unslated, unlabelled takes, into my NLE does nothing to help my creativity. And having to hunt through all of the dailies because the production people didn’t bother to create usable camera and sound reports, or script notes, makes the editing process so much more difficult.

One of the things that encouraged me to write my recent book on editing room procedures (THE FILM EDITING ROOM HANDBOOK) was the awareness that filmmakers were wasting countless hours and brain cells because of lack of organization. And that this organization, which we use quite naturally on higher budget films that have assistant editors by the score, was easily adapted to low budget films with no assistants. A little bit of work at the start, saves a whole boatload of work later. And that work is complicated by the fact that the director will be standing over your shoulder while you’re scrolling through a 25 minute clip, looking for the one 50 second take that has the piece he or she wants to look at. Or that opening and clicking through a dozen badly-named sequences, in order to find the version of the cut that you liked from two months ago, is just a really stupid idea.

There are ways to avoid that nonsense and creative DPs like Shane aren’t afraid of them.

And neither should you.

Post from: HOLLYN-wood by Norman Hollyn

I’m Not Afraid Of Organization!!

My book sitting quietly in a Barnes and Noble bookshelf

Long time readers of this blog will realize that it has been a long time — since I’ve posted. There are some very good reasons for that, not the least of which is that my new book was being written, rewritten, rewritten again, and published — all of which required a time sucking amount of work.  All of which I’m thrilled about.

This is the fourth edition of my ancient book on editing room workflow, written originally back before anyone knew what the word “workflow” meant. It is a total page one rewrite and, because I’m not an assistant editor any longer, I had to do a ton of research with assistants (those that are left). I learned a tremendous amount about what assistant editors do today and much of that shows up in the new book. I’ll be dropping some of that on you in the weeks ahead.

Of course, I want each and everyone of you to go out and buy 50 copies each of the book.  But that’s not what I’m interested in talking about today. So, let me go on.

Another reason why this latest posting has been inordinately delayed is that I’ve been editing one or two films. One of them is a great comedy road movie that follows a self-destructive screenwriter as he drives across country accompanied by the young kid who’s been assigned by the film producers to babysit the guy . The film is, I think, going to be loads of fun, but what’s really interesting about it for me is that I’m editing it long distance. My co-editor is in Massachusetts and my director is in Rhode Island.

That means that the three of us are going to spend lots of time shooting copies of our Avid bins back and forth to each other so we can see what each of us are doing. This excites me a lot, but that may be because I’m slightly crazy about the future. A conversation I had a little while back, showed me that not everybody shares this mania.

Last summer, when Final Cut Pro 7 (or whatever they’re calling it) came out, I remember enthusiastically talking to a friend about the iChat Theater function, which allows the editor to play out anything in FCP over an iChat video conference, simply by pointing to it. It’s an easy way to play dailies or your sequence to any of your collaborators. It doesn’t have any of the real interactive functions that would make it a true shared editing platform (I’ll be looking at Fuze soon, which promises much more), but it certainly is a start to long distance communication in the editing process and I was telling my friend about it.

He looked at me horrified and said “I’ve got one word for you — outsourcing.” He was worried about his job going overseas.

“But you’ve got to look at it from the other side,” I told him. “You’re an accomplished Hollywood feature and television editor. There will be plenty of people around the world who would love to work with you. But they haven’t been able to because you live here in Los Angeles and they don’t.”

He agreed that this was possible but then said “A lowering tide lowers all boats. Even if I could get those jobs, my salary is going to go down. Way down.”

Hard to disagree with that.  Welcome to the 21st century. With the collapse of television syndication and the advertising market, the days of 10 month guaranteed jobs for tv editors are going away. As Hollywood moves more and more to large tentpole films, the number of mid-range films is also disappearing and, along with them, a sizable number of cushy mid-level jobs. Those of us who live off of these types of projects are going to have to get used to the fact that our incomes are going to go down, unless we adapt to the new markets.

And, miraculously, those markets are all over the world. What my friend, and all of us, are going to have to do, is to learn to juggle multiple jobs across multiple time zones. Some of us are doing that already. It’s really only the larger job markets that haven’t been doing it. No producer is going to share his/her editor’s time with someone across the globe. But if that same producer is hiring his/her editor for a few months, laying them off, bringing them back on again for a month or two, and then laying them off again — well, they’re going to have to get used to sharing them with the rest of the world.

So working long-distance is going to be a smart thing to learn how to do. And somehow I’ve stumbled right into it.

Apple's new iPad

Then, enter the iPad. I’ve been asked endlessly whether I’m ready to rush out and buy one. Honestly, not really. I’ll wait until the device matures a bit more (just like I waited for the iPhone 3G and am thrilled that I did). However, the possibilities that this new device gives us in the vertical market that is filmmaking are thrilling.

Imagine a producer pitching a project to a studio. Right now they send a script and, perhaps, some accompanying materials, to the studio where (if their readers like it) it is sent home with 50 or so executives to be read over the weekend. This is called, in a predictable burst of studio originality, the “weekend read.” Many studios have moved the weekend read from paper to the Kindle, which saves paper but does nothing to brighten the experience for those poor junior executives.

Now, imagine if you will, that the producer has loaded the script onto an iPad and that there are embedded links within the script to location photos, audition tapes, CAD drawings of sets, and 3D mockups of the worlds that are only hinted at in the script. That is going to be a clearer, more interesting vision of the story for every single one of those bored-to-tears weekend readers. It’s also going to be more helpful to me, when I read a script before an interview, or to an art director as he/she tries to figure out what’s inside of the director’s mind.

And that’s just one single use for this device. If you take a look at the dozens of applications for filmmakers available on the iPhone (Taz Goldstein has a great list, adapted from his recent Supermeet talk, up at his site Handheld Hollywood and, by the way, the Supermeet was a great event, even if I did have to watch it streamed on Ustream — you should go and look at it right now). There are slates galore, some of which even will help you import your footage into your NLE. There’s a very cool application to allow you to remotely control your f-stop settings on your camera. There are director’s viewfinders, storyboard creators, teleprompters and research tools. And that’s for the iPhone.

Imagine what we’ll be able to get with a 10″ screen.

Here’s my point. For years we’ve been on the cusp of something really new and exciting in the filmmaking world. We’ve gone all digital — from capture through editing. We’ve also seen the world of distribution change — so the need to print film for theaters is fast disappearing, and we will be easily distributing to each of the four screens that people watch their entertainment on (see an earlier post of mine about Four Play).

What’s been missing is the ease of getting from this digital creation, to the digital consumption in any way that resembles a realistic viewing format.

The iPad is more than a hint into that future, it’s the door ajar (not fully open yet, but not closed).

Post from: HOLLYN-wood by Norman Hollyn

The iPad, Film Editing, My Book and Delays

Shot for the Japanese band Sour’s song “Hibi no Neiro” (which means something like “Everyday Tone”) this is a great example of how you can make something incredibly creative with very little money and involve your fans in the process. Their fans are much more likely to be involved and support Sour after something like this.

SOUR ‘日々の音色 (Hibi no neiro)’

Post from: HOLLYN-wood by Norman Hollyn

A Great Example of Crowd Sourcing

Daisy Whitney, host of New Media Minute

Seems like just yesterday that I finished writing about collaboration (it wasn’t, it was actually two days ago) and I’ve just watched Daisy Whitney’s latest episode of New Media Minute which is all about collaboration.  (Daisy is one of the most informed, entertaining, correspondents on the media area, hosting This Week In Media as well as writing for a slew of magazines and web sites.). She talks about new technology which is enabling people to collaborate across great distances including Wiredrive, web conference software Adobe ConnectNow and sites like video hiring hall Spidvid and online collaborative amateur site Pixorial.

Along the way, Daisy also mentions a project that I was involved in earlier this year — Mass Animation’s “Live Music”.  This was a Facebook application in which animators from across the globe were able to download a trial copy of Maya, and use it to create individual shots in an animated short that is going to be released at the top of Sony’s fall film PLANET 51. There were weekly contests, polls and judged competitions. I was one of a panel of judges that looked at individual sections of the films, gave feedback to the worldwide animators, and awarded badges to the shots we judged the best. It was a fantastic experience and created a much better film than it would have been without that diverse input.

Daisy also announced a contest for web videomakers that I want you all to know about. To dovetail with the publication of a friend’s book (Alison Winscott’s “The Time of My Life”) she has asked animators to create and post a short 10-15 second video based on the idea of “The Time of My Life”. Send her the link and, after judging, the winner will run on her popular show along with a featured interview. Sounds worth it to me. Also, a good chance to learn more about yourself.

The contest (read more details about it on Daisy’s blog for New Media Minute) has no announced final date but, as usual in life, earlier is better. So get those videos shot, edited and in.

Post from: HOLLYN-wood by Norman Hollyn

Collaboration, The Sequel — And A Contest

You know journalist A.J. Liebling‘s old expression — “Freedom of the press is guaranteed only to those who own one.” For a long time the same has been true for much of filmmaking and the cooler aspects of animation, including the sort of motion capture technology previously available only to those who could afford it.

But there is a fascinating project going on in Hungary, called Kitchen Budapest, which is creating a place for a myriad of arts and technology projects spearheaded by Hungarian artists. There is one, called Animata, which (if I understand correctly) will make motion capture much more accessible to the average computer geek (I doubt that Mom and Pop will be using it anytime soon, but that’s probably a good thing all around). Here is how they describe it:

In contrast with the traditional 3D animation programs, creating characters in Animata is quite simple and takes only a few minutes. On the basis of the still images, which serve as the skeleton of the puppets, we produce a network of triangles, some parts of which we link with a bony structure. The bones’ movement is based on a physical model, which allows the characters to be easily moved.

Check out a dancing figure in the following piece, which has an inset of the person who is controlling it.

Reverse Shadow Theatre from gabor papp on Vimeo.

And then, take a look at how you can get much more complex, using multiple figures and musical instruments.

Animata Jazz Pub from gabor papp on Vimeo.

Now, I have no idea how flexible this is. But, if it is as accessible as it looks, this bodes well for projects well behind artsy animation films. Just think how this could work with instructional videos (one of the largest and most successful areas for Internet video) and demo films.

Let me take a little sidetrip here. I remember years ago, there was an incredibly talented post-production sound mixer named Dick Vorisek in New York who created so much mystery about what he did that it seemed like no one could ever mix a film except for him. A little while later, another mixer (named Lee Dichter) started mixing in a much more open way. I began to feel that mixing wasn’t a huge mystery, but that no one could mix quite as well as Lee could.

This paradigm has now moved into the entire filmmaking process. We all can edit and do sound work much more easily than before. We can now afford to shoot as well. And we can color correct and do visual effects. Most of us aren’t doing those things very well but we’re beginning to understand and participate in the process much better than before. Now we’re beginning to see the light in terms of motion capture and bridging animation and live action.

This bodes for a vastly more interesting world out there. Link on over to Animata, and stay tuned for the future.

Post from: HOLLYN-wood by Norman Hollyn

How Animation is Leading The Way For Our Filmmaking

The numbers below are pretty interesting, especially when you look at the younger demographics and their percentage of total telephone services spent on cell phone service.  These numbers of from the Bureau of Labor, show that spending on cell phone service increased tremendously from 2001 to 2007.  Somewhere in 2006, we started spending more on cell than on landlines. And that’s across all age groups, even the landline-bound Over 64 group, whose percentage of cell phone spending nearly tripled over that time. About one-third of these people are now spending more on cell phones.

That, to me, is an even more awesome statistic than the fact that about 3/4 of people under 25 are doing the same thing.

Cell phone usage has increased tremendously since 2001

The article goes on to say,

In 2001, the ratio of spending on residential phone services to spending on cellular phone services was greater than 3 to 1. In 2007, cellular phone expenditures accounted for 55 percent of total telephone expenditures compared to 43 percent for residential phone expenditures.

Data from the Bureau of Labor Statistics’ Consumer Expenditure Survey (CE) show that cellular phone expenditures increased rapidly from 2001 through 2007. Cellular phone expenditures surpassed spending on residential landline phone services beginning in 2007. Chart 1 shows that annual expenditures for cellular phone services per consumer unit increased from $210 in 2001 to $608 in 2007, an increase of 190 percent. Expenditures for residential phone services per consumer unit decreased from $686 to $482 over that period, a decrease of 30 percent.

There are obvious reasons that this might be so, including large cel phone bills — I don’t think that my landline (which I still keep going — my cel service in my own home being less reliable than the cel service I experienced in the Jordanian desert several years ago) accounts for more than 20% of my total monthly phone bill.  I’ve got a lot of services hanging off of it — including my miserable DSL service (more on that in another post).

But it’s clear that, with manhy people jettisoning their landlines in favor of cel service, that a sizable chunk of money (and our expectations) is going into cel phones.  Worldwide as well as in the United States.

If you ask me, this is great news for those of us who make media. As I told a class today, for those of us who love the idea of making media for screens above and beyond the television and the Big Silver, we’ve got a great expanse of wild and wooliness out there.  It will be necessary for the phone companies to compete with each other in even stronger ways, once it’s clear that their landline business is going away. Between business VoIP (like Skype and Avaya) and residential cel service, they’re going to want to shore up their cel services.

And that is going to mean providing additional content for the smart phones of the future.

If I were you, I’d start learning Big Time about puting media that you want to create, onto someone else’s cel phones. Then, after the dust settles, if you’re in there, you’re going to make some money.

Post from: HOLLYN-wood by Norman Hollyn

Cell phone bills and media makers

This isn’t really an earthshaking technology point I’m making here (and those of you looking for trenchant analysis can skip down a paragraph or two), but for the first day or two up at Sundance, when thousands of Cool-Groovy-Industry-Types flooded Park City, iPhone 3G service came crashing down.  People with the original iPhones could get service — phone and data — but the rest of us had trouble getting phone signals and had horribly erratic, mostly non-existent, data/web access.  Blackberrys weren’t affected. Neither were old crappy AT&T phones.

I guess it took AT&T a day or two to get additional cel sites up and running, and the problem eventually was solved.  But this technological hiccup once again raises the point about adoption of broadband into areas that aren’t early adopters.

We all know that a large percentage of the American population still watches television over rabbit ears (6.5 million homes) and that moving some people off of dial-up is a painful process (a recent article in Ars Technica says that 19 percent of dial-up users say that “nothing” would get them to upgrade, not even lower prices) . Yet these are exactly the audiences who watch large amounts of television. That’s why we’ve seen Comcast give free cable to these households — you can’t leave that audience behind (too many advertisting-ready households), even if they see no reason to jump ahead.

Yet, at a recent get-together, I was talking with some friends about the various web video sites and what each one offers.  One of the people there made the point that no one is making any money off of video on the web — especially User Generated Content. And he is probably rights about that and it’s that reality, compounded by the large number of people who don’t know or can’t be bothered to make the switch to digital television, that will ultimately make it much harder to attain the much vaulted web-based delivery of media.

I like plugging my computer into my television and watching high quality shows from Hulu (when my DVR refused to record the second night’s worth of 24 it was no big deal — since it was on that web site the next day). I regularly download and pay for shows from the iTunes store. It’s easy and fits within my budget (the day when teachers pay moves into the area when we can actually afford to live in Los Angeles doesn’t look in sight right now). Many people, like Daisy Whitney, have dropped their cable altogether and watch everything from the Web. But the advertising is never going to come over to sites like Hulu en masse until the rabbit-ears people do.

So, how do we get that to happen?

I have to admit, I’ve got nothing when it comes to that. But it isn’t going to happen until the experience feels like our “real” televisions. That means we’re going to have to be able to switch on our Apple-TV’s and not wait at all for the program to start. We’re going to have to watch without stopping for “buffering.” And it’s going to have to be as easy as turning to a channel and hitting the POWER button. (My wife still complains about all of the remotes we’ve got lying around the house.) When all of that happens, then Mom and Grandpa might move over to Daisy Whitney’s virtual television neighborhood.

I’m not suggesting that everyone out there is going to switch to iPhones and that every town needs to figure out how to get themselves out of the Park City Problem. But I’m close.  If we want to get to the goal of ubiquitous broadband the way Ken Rutkowski talks about South Korea or Alex Lindsay talks about Japan, we’re going to have to have better wireless, better wired, and better experiences than I did in Sundance.

Post from: HOLLYN-wood by Norman Hollyn

iPhones, Sundance and the Loss of Rabbit Ears

It’s a Wordle tag cloud, which lists every word in the speech — the more often the word is used, the bigger the word.

Tag Cloud - Inaugration Speech

Post from: HOLLYN-wood by Norman Hollyn

Electronic Media — Speed Pays

One of the hardest things to teach people involved in the arts is how important connections are to their success. Hell, if I’d have learned that way back when you might have heard about me way before now — like when I accepted an Oscar or gave a speech at the White House. But networking is hard, especially for people in the arts. I find that many of us can’t speak proudly of work that we’ve done without being prompted.  It feels too much like boasting. So what takes its place — among us socially inept people?

Networking.

They say that, in Hollywood (and, by that, they mean Big Filmmaking), it’s who you know that helps you get ahead. And while I’ve seen too many well connected people who don’t get work because they can’t do the work when they do get it, it is true that having connections is better than not having them. The way that I describe it is that, since there are 100 people out there for every job, you have to differentiate yourself from the next person. That could be that you’ve won an Oscar — that’s different. Or it could be that you speak Swahili and the film has a section in Swahili — that makes you different.

Or it could be that one of your parents is head of post production for a major studio. That also makes you different.

But most of us don’t have parents who are highly connected like that, so what we have to do is to win an Oscar, learn Swahili or find someone who can help us in lieu of the Influential Parent thing.

That’s where networking comes in, and it’s the positive side of the “it’s-who-youy-know” coin.

Filmmaking is hard hard hard work. It’s not easy being trapped in a small editing room for five months with someone if you don’t really like spending time with them. So, honestly, one of the requirements of a good editor (or of any crucial job on a film — and most of them are critical)  is the ability to get a long with people. And that’s really hard to judge in a 30 minute interview.  So that’s why it’s a great idea to get to know someone in another setting before you have to meet them in an interview. Now, this kind of thing can’t be forced. It doesn’t do any good to attend parties, hoping to meet that director who you’d like to work with. But I’ve met some amazing people in social situations, a few of whom turned out to be working buddies later. I met them at soccer games (well… my daughter’s soccer games to be honest), museum functions, book groups and — now — online. Anyone who doesn’t have a Facebook account in 2009 might as well retire from the industry right now, before we reach 2009 (if you’re reading this after 2008 went away, well… sorry about that, give up now).

These thoughts came to mind after listening to a recent podcast of Net at Night, from Leo Laporte and Amber MacArthur, where they interviewed Ming Yeow Ng, one of the founders of a service called Mr. Tweet. Mr. Tweet is an identity on Twitter, the microblogging service which is better defined in Wikipedia than on their own site, as a web and cel phone text messaging site which “allows its users to send and read other users’ updates (otherwise known as tweets), which are text-based posts of up to 140 characters in length.” For those of you who aren’t on the service (and there’s really no pressing need for many of you to get on right now, I’m sure) the idea is that you post short messages which go out to everyone who has chosen to “follow” you. Initially, these messages tended to be stupefyingly dull (“I”m driving over to Joe’s house now.”). At SxSW last year, however, people started to use it as a meet-up tool (“I’m in the back of so-and-so’s panel where he’s talking complete gibberish. Who else is here?”). It has now evolved to a rather interesting means of passing information along. People like Guy Kawasaki, Robert Scoble, and Ken Rutkowski use it to push out information and links for items that they find interesting. And because each of those three people are interesting, the links are worth following.

So, it’d be great to find people who can help you learn new things about the world, and the industry, in which we live and work. The question is — how do you find them?

Enter Mr. Tweet. This service takes a look at the people who are in your circle of followers (that is, the people who you follow and the people who follow you — those don’t have to be the same) and figures out the people who you are NOT following who you should be following. Mr. Tweet (no word on whether there is a Ms. Tweet as well) divides them into two groups — the people who follow you, and the people who are not in your circle at all. The algorithm that they use to do this isn’t easy, and Leo, Amber and Ming discussed this a bit in Net at Nite (it is further discussed on the site’s blog) but it basically takes a look at how much respected bloggers respect your tweets (which are what your individual twitter postings would be called if you actually did them). The definition of “respected” seems to come from how valued your own tweets are to large groups of people.  Obviously, the more people in the system, the better this system works — you join the system by following “mrtweet” on Twitter. (As an aside, the two founders of Mr. Tweet, have put together an interesting PowerPoint entitled “Discovery Is The New Cocaine” which gives a lot of the basis for the reasons behind social networking usefulness. It’s worth a look at Slideshare.)

But this leads to a great conclusion about social networking in general — how can you find intriguing, interesting and valuable people with who you can network. One bit of advice that I got seveal years ago from Mark Hortsman and Michael Auzenne over at Manager Tools (a great site and fascinating podcast for those of you who want to learn how to manage) is to never volunteer for something expecting to get something in return. The best way to be helped by people, is to help them out selflessly. That means opening up your rolodex when it’s appropriate. That means answering emails from people you don’t know, even if it’s just a short response, to answer their questions. That means volunteering on a project without expecting a trade. And it means prying ourselves out of our shells a little more than we may be comfortable doing.

Knowing the latest cameras and editing software is important in the new world of work in our industries, but so is knowing how to make contacts in that world so you and your work can get out there. It goes beyond cocktail parties, through the world of user groups and emails, and into many of the social networking tools. Putting your films out on YouTube doesn’t do you a bit of good if you can’t get anyone to watch them. So, one more skill that we need to acquire today, is the ability to use the social networking tools of the time.

Now, you can go out and join Twitter.

By the way, if you’d like to follow me on Twitter (and I’m just learning how to do it right, you can click the Twitter logo at the top of this post).

Post from: HOLLYN-wood by Norman Hollyn

Social Networking — Does It Network?