What prompted the decision to produce content for the mobile platform?

Simple.  The networks asked us to do it.  It has gotten to the point where any show currently on a broadcast network also has an extensive presence on the web, cell phones or VOD.  Delivery requirements now specify material designated for alternate media.

What networks are you working with?  Is it just MTV?

Actually it’s everyone:  MTV, Spike, Lifetime, Oxygen, E!  etc.   They all are extremely focused on how important the “alternative platforms” have become.

Do you repurpose existing content or produce original content for the mobile platform?

Both. Some of the material is “clip oriented” highlights from that week’s episode, or in some cases the entire episode.  Usually, we’re asked to create something unique that will attract attention and give consumers a reason to seek out this material.  Typically, we will include bloopers, unseen footage in the form of rough cuts or “alternate scenes.” Occasionally we will provide “deeper background” material about cast members that is only available on the web.  For example, with “The Real World,” interested viewers can log on to MTV.com and find additional interviews with cast members from the initial casting process.

How many titles do you have for the mobile platform?

We currently have six shows in post/on the air:  Real World 18 (Denver), Challenge 14, Simple Life 5, Bad Girls 1, Road Rules (Viewer’s Revenge), Murder (Spike).

All of these shows require some kind of mobile presence.  It can be as simple as a trailer promoting the next season or as elaborate as specific content created just for these platforms. Typically, each show will have anywhere from 3 to10 minutes of original content exclusively dedicated to the mobile platform.

What works - and what doesn’t work - on this platform?

Works:  Short, “talking head” informational or funny bits.

Doesn’t work:  Long, visually driven or “audio driven” stories with subtle character development.  Most people are viewing this material in less than optimal circumstances with a high distraction quotient.  Subtlety in this format gets lost.

Do you shoot in HD? How important is it to capture material in the highest possible resolution, if it’s only going to be reduced to a tiny screen?

No, we do not originate in HD yet.  That’s changing by the day due to network requirements, so my answer tomorrow may be different. Currently, however, we originate in SD, typically using Panasonic DVCPro 50.  Because our material is usually derived from material intended for broadcast, our production standards are already relatively high.  If we were creating something solely for the cellphone market, I doubt that we would go above DV quality.

How are you distributing this content?

Currently we deliver to the networks and they take responsibility for distribution.

What kind of response are you getting?

At this phase of the game, the response is positive, but I don’t think anyone has figured out how to make money in the cell phone market.  VOD and iTunes has been very good, and that’s a measurable number. Cellphones are another story.   What does it take to get someone to pay to watch something on his or her cellphone?  I pay for the service because I want to see how our work looks in all media.  I don’t know that I would pay otherwise.  On the other hand, if I lived somewhere else and commuted on a train, or bus, or ferry, I’d probably welcome the service.

What are you learning from these initial productions?  How are you tweaking the model of producing content for the mobile platform?

We’re learning that fast cutting just doesn’t work well in this format.  Frequently, frame rates received are less than full speed and quick cutting just doesn’t hold up.  Since the screen is so tiny, a close-up is better than a wide shot.  Obvious is better than subtle. GRFX should be extremely simple (black and white is good!)

Currently, most business models for this market (cellphones) are promotional more than anything else.  Music rights and clearances become a big issue if you haven’t considered this issue in advance. Having to go back and renegotiate rights or replace cues can be expensive.  It’s best to address it up front and produce content with “ALL MEDIA” in mind.  Finally, the definition of “all media” changes everyday.  Make sure that whatever format you’re mastering to can be repurposed for future outlets.