WWDC2004 Session 726

Transcript

Kind: captions Language: en good afternoon everybody I'm Glen bullets on the quick time marketing team you are in session seven to six quick time case studies and we have the privilege today to talk to the folks who delivered all of the media for the South by Southwest Conference and if you're not familiar with this conference it's the largest conference for independent music in the world some thirteen hundred bands get together and perform for a large audience and other bands and hopefully lots of artists and repertoire people who are adding independent bands and unsigned bands into labels and clearly the last several years have been really really important for independent music most notably the internet arising as a way of merchandising and a way of getting bands to be able to promote themselves without being captive or excluded from radio and some of the promotion vehicles that are available to major labels and the team at South by South by Southwest this year sort of went over and above not only delivering thousands of mp3s from all these bands and delivering video from the panel's but also allowing or leveraging some of the technologies including Wireless and streaming to cross pollinate between all the different clubs in the performances and that kind of stuff so pretty packed session pretty in-depth I'll turn it over and if we have questions let's save them to the end and come up to the microphones and put your you know say your name and company name and we'll do our best to answer all the sessions and our all the questions and I'll kick it off to these guys okay my name is Gary Woodcock and this is Scott Wilcox and we're going to talk to you a little bit about how we have done our production workflow at South by Southwest and I guess this is that's right yeah so sorry I got confused there so this is just kind of an overview of what we're going to talk about we want to explain kind of what South by Southwest is what it's about how we've used QuickTime in our workflow for production for music and for video how we've used QuickTime to help us promote the event how you know we've delivered the media that we've created during the event we'll talk a little bit about some of the experiments that we've conducted during the course of the last few years during that event and go over a few ideas that we have for future directions and how we might use QuickTime to help us in the future and along the way what we hope to do is help you learn a little bit about how you can use Apple technologies to help you do these kinds of things for your own promotions or production delivery sorts of things we've used iTunes and QuickTime and rendezvous and a lot of different Apple technologies to to really streamline the process of delivering media for South by Southwest attendees and people who aren't attending the show but come and look at the media that's available online so just to give you an overview of what South by Southwest is it's um as Glen said the largest sort of event of its type in the world there's various component it all overlaps and for the last ten years specifically we've been focusing on convergence of the film music and interactive technology industries so to sort of break it down we also have an exhibition in trade show it happens in March every year and in Austin and we're in our 19th year for music and our 12th year for film and interactive in terms of attendance it's it's a large group of attendees who are sort of registered and can attend the panel sessions and then there's special events and in the night time during the Music Festival we have the bands play on 60 stages around Austin for for four days so interactive basically our focus here is we do a lot of panels and conference programming and the sort of community that is involved itself most heavily over the years is really working with web technologies blogging the entertainment industry we have designers and all these people kind of come to sort of talk about the challenges the unique challenges that are facing them in their event and how can they also use the tools they've been developing to leverage the music industry and the film industry to put sort of products in the hands of executives who are running labels independent labels major labels people who are in licensing so we have a web Awards Show which is it's focused on trying to acknowledge the best work we feel done in the web over the last year and all in all the interactive event has about 3200 attendees which is been growing significantly every year and the event tries to reflect what's going on in this space and we've been moving more towards we have a wireless track and we're talking more about mobile content delivery and basically what's happening we just try to reflect it for the film our emphasis here is really independent film you've got a tremendous amount of talent out there they've been making fantastic films that have been picked up and distributed by large distribution houses and then we try to bring the directors who are really notable and working in their field of independent film like Robert Rodriguez initially at least an independent kind of broken through now to the sort of majors Richard Linklater similar story really put Austin on the map with slacker and in the beginning and then we've got you know Jim Jarmusch we've had any number of other film makers over the years our focus as far as successful goes is premieres we try to premiere as many regional and world films as as possible we have about eight venues we do about 200 films over ten days so we complement the conference aspect of the event with this Film Festival which then creates a forum for for buyers distribution people looking to work an independent film and then we've got a consumer base which basically comprised mostly of fans that also come in and see the films so give you an idea of the scope there this year we had about 30,000 single admission entries into the film's some 30,000 people in seats basically and from that a lot of these films go on to find distribution and we were able to arrange special screenings like Jim Jarmusch's film coffee and cigarettes played there this year in addition to who else Robert Duvall did something code 46 premiered there this year which is Tim Robbins independent film so that's going on there's over 3,000 attendees for that and that sort of happened simultaneously with the interactive event we've got both people in the same buildings in just separate rooms and then we do crossover panels so people can sort of meet and mingle in that arena for music this is probably the cornerstone of our event mostly because it's been going the longest and we've been able to develop a robust international reputation with a large European contingency and Asian contingency we have a European rep and Asian rep we have a Pacific REM rep down in Australia and we really try to pull you know the best talent that the emerging talent from around the world and the industry that supports them from managers the labels they're working with publicists come and and people come to really see ok what's the stuff going on now so because of that we're focused largely in the indie scene you know we've got their smaller Indies and your more established Indies like Sub Pop and and it's really what we've seen interestingly enough is that that is really thriving now as the larger labels and distribution houses continue to merge and merge and merge we've seen that with the tools given to people in rich media and on the internet and websites that that more independent houses have been taking advantage of implementing new media as a strategy for promotion and the end result is is that sales have been through the roof I've got a friend who's director of sales at Sub Pop and he says we're doing well and this is really encouraging news I think for the for the music industry overall so 8,000 people there this is an example of one clip we did with quick time during the event we we shot this with minimal production on mini DV and then edited it in Final Cut Pro compressed with cleaner 6 and delivered it the day after sort of we compress overnight and then publish in the morning there's ilaria don't you sell first I really do what you're doing for real master what you're doing master it'd be the best nothing less you know and so this when you master what you doing you're going to go places you know don't do this desk toss is going to sell because then you're cheating yourself you're not you know your conviction is not there you're doing this cause you believe in it is you and it's real Union still you didn't kill and now you're not a meal cuz you got the real feel if you want to play guitar River play the guitar learn how to play the guitar No No please don't how to play the piano learn how to really sing don't cheat yourself your best day doing it don't copy this it cuz this ain't going nowhere if she go in arresting a weed along she'll be back home 9 author really really put something in it and remember this that the grass may look greener on the other side but it's just as hard to cut so that was a clip from our keynote presentation this year most of you I'm sure recognized little Richard and every year we try to have artists with the benefit of industry experience to our keynotes and then we integrate other aspects of people in the music industry throughout the panel's programming South by Southwest has a unique set of constraints because it's it's a festival it's an event and we basically go into the space which would be the convention center and into the clubs and we have to set everything up like in 48 hours and then we have to do the event and at the same time we'd like to capture as much from the event digitally as possible and then we need to cut the stuff and we need to get it out there on the channels because we have a very fixed amount of time where spotlight on South by Southwest we've got a big promotional push and we need to take advantage of the interactive and new media technologies at our disposal so for our video program in particular we have a lot of you know budgetary limitations due to the fact that we're also having to put all the production in the clubs and we have to sort of do things with the theaters so we've got a lot of physical production and then so which leaves us sort of scant resources from a new media production digital production standpoint the way we solve this problem is that we use volunteers for our production and we asked voters that they provide their own camera actually we've been going with mini DV primarily as a format over the last four years because of just the sheer amount of proliferation of the device and the consumer and prosumer markets so what this does for the volunteer though is create a unique opportunity for them to gain exposure at the event because we we try to make sure that they're credited appropriately we'll say this person shot this clip and this person edited this and then when they're meeting people the event they have the opportunity to say oh yeah this is what I'm doing with this and here's my card so the whole social networking aspect of the event plays really well into gaining sort of a range of talent from from novice to professional so they go out and we deployed them to shoot the event and and the main thing that we focus on is simplicity overall we have a fairly elaborate production scheme which I'll talk about in a minute but we we try to do it in a guerrilla fashion whereby for the panels and stuff we we maybe will plug into the board and we'll set a camera up in the back and then we'll send up a close-up shot up front for the bigger event so we have a two shot to edit between you know but we don't get more complicated than that because it creates a lot of editing time overhead and we need to get this stuff out quick and we want to be able to get it out and extensible to emerging mobile formats as well so we basically chosen something where we're actually getting a lot more content than we're currently able to to use in real time so we focus on the two to five minute clip or so and I think that's don't matter next oh you're talking about that okay I'll continue with that part later so one of the things that South by Southwest does a really excellent job at is event promotion and also promotion for the various films and bands that participate in the event and the typical just looking at the music side of this the bands will submit songs to South by Southwest that they want to use promote through either their performance or perhaps they have an album out that they want to tie into but basically something that represents their their vision their art and that they want to emphasize at the event the songs are that are received by Southwest South by Southwest are encoded into mp3 format and then they're made available for download on the South by Southwest website and they're also we there was something very new that happened this year that an engineer at South by Southwest David Rose had a great idea to try to leverage the songs that we were getting from the artists through iTunes and so the same songs that are encoded are hosted on a central server and they're available through iTunes and David also did some additional work to go talk with the Austin City Wireless project which is have a collective of people that offer free access points throughout Austin I think there's 50 sites currently and it's there is 50 sites during the event that now there's like 80 so this is kind of blowing up really quickly they work in conjunction with the city as well yeah so it's you know pretty much citywide you know while the events going on there are access points you can walk into you can you know basically bring up iTunes and and get to access to these songs and this is kind of what this looks like this is an example of one of the access points locally in Austin and you can see that there's the promotion for South by Southwest with a logo and it also has the iTunes time to let you know that if you have iTunes either on your your Mac or PC and you log into the access point hey there's there's something really neat waiting for you and this is another login example that you can see and so this is the kind of the screen that you get when you when you go enter one of these places that you have to to log into before you get the access ok so this is just kind of an example of what you would see if you brought up iTunes and you can see there's the South by Southwest 2004 showcasing artists and you get a list of all the songs and all the bands that are available on the playlist and this year we had 600 600 and saw honey come on yeah and it's very cool because you can browse any and use all the tools that you have in iTunes you can browse by category or band name or song and and find something to like and I think Scott's can talk later about how you can even tie that back to find the band during the event so how does this work basically be the iTunes hearings based on something called the digital audio access protocol that's proprietary to Apple now even though its proprietary there are some open source repositories that implement a server technology that can be deployed on OS 10 on Linux on Windows Phone pretty much anything and you can run this this open source server and serve your own playlist and then there's a second piece which is the rendezvous piece this is basically the service discovery so this is the part that lets you when you're in and the access point service area lets you know that there's actually a service here that you can you can use and this was done using the DNS proxy sample code the rendezvous sample code that's actually available from the Apple website now there are other ways to do this you can do the same sort of thing with how which is another rendezvous implementation Vaughn DB is also known as zero configuration or zero cost you might note by that name as well the point being is it's all openly available it'll run on variety of systems and basically what happens is you you have a your we have the attune served on from a central server and then at each access point you can run an instance of this rendezvous client or the traun tiri server that can relay the server content to the local access point the reason this is necessary at least currently is that the services all is bound to a local subnet so the server itself has its own subnet and you need to bridge to the access point subnet basically this sounds fairly complicated it's really not you can download the sample code and you don't really have to be a software engineer to run this you basically need to be able to type make and the console and it all worked out for you pretty well it's not difficult but it was a bit of inspired work on David's part to pull all these pieces together and I'd like to just check with David I think David has a surprise kind of for the for the audience here if you're if you have airport here you should be able to log in with iTunes and actually see the playlist here we haven't relayed here into this room so as you can see it in action if you're if you're curious and it's again it's it's a very powerful concept but it's relatively simple and very inexpensive to set up so it fit very well with the philosophy that South by Southwest has for getting maximum leverage out of the technology so just real quick this I promise this is as technical as we'll probably get in the session here but I did want to kind of get this into the slides again to do this sort of thing yourself it's not difficult you just have to go out and download the code build it with your environment of choice it might be Xcode on on LS 10 it could be just using standard GCC tools on Linux and then install it and then there's some fairly simple configuration that you need to do to basically advertise the fact that you have a digital audio protocol service available which is the first line of blue text there and what you're basically advertising is your IP address your database name how you'd like your playlist to be advertised in terms of text in iTunes for example and then the protocol and the port the second line basically just starts the the audio service protocol and so just a single line and it's not much more difficult than that so actually I could give it a sec you're eager and I just like to add the the real benefit that this has had for us is that it's really increased the distribution using cool new technology while actually all of our audio files still live on one one server actually in a colocation facility in San Antonio so because serving up this type of content is actually minimal work for the processor this is this is a pretty old box it's like a five hundred megahertz box but what we've noticed is that it's a box is capable of pushing at least 60 gigs a day and content during the event and performance hasn't really suffered okay and then just as a last note that after the event - there's there is another way actually gets during that as well but there's another way to get the same content in the form of a streaming audio service and so if you were to go to the South by Southwest website you could actually download a playlist file that would show up as essentially a continuous streaming audio stream that you could play in iTunes and it's again that that - is available through if you want to try that on we've gotten a lot of feedback on this being particularly handy to our attendees because the big problem that people have when they attend our event is what do I go see you've got any given time you've got 60 bands playing you've got 400 bands a night what a mic OC so this is one of the real problems that sort of drive the use of new technology for us and here people when they're sort of kind of figuring out oh they're thinking about the event they can launch this and if they hear something then they click back to iTunes they see the band there and then they can basically easily match that with our scheduling software on our site so we got a lot of good feedback on just having a continuous random stream for those reasons so really the big takeaways here are just that first of all that Apple technology and open source technologies really do play well together you know it's something that you know you've probably heard before our experience in trying to do it for ourselves is that it's really true it really is easy they really do work we get a lot of mileage out of using the standard Apple interfaces for media types through iTunes and QuickTime Player things of that nature because it gives a very standard experience for all the users that are coming to view or listen to South by Southwest content and it works on Mac and Windows excuse me didn't quite go there yet and again it's also very simple and cost effective to setup you can get you know everyone that wants to listen to this stuff can go get iTunes for free they can get QuickTime Player for free there's no cost burden on the people who want to view or listen to the content and you know that just that's great nobody wants to to pay a lot of money when they've already paid for badge I just want to find out what's going with the bands as Scott says this is just another way that we integrated audio content for the last three years we've been developing a sort of schedule application for Palm OS and we had basically a lot of high demand for oh I want it on my palm so that I can take it with me so that I can kind of see and navigate so we've been adding more and more features to this over the years now on this year it was we made it so you could being your own personalized schedule to other people so they know knew what you were going to go see and also this was a first for us this year that we via pocket Tunes integrated a connection directly to that same media server in San Antonio so that if you're on your palm and you're you have a trail or something and you're and within a Wi-Fi hotspot area you can listen to the music directly on your palm OS space PDA so that was a new sort of like interesting way to kind of integrate and again bring bring audio content and vd in general through through various channels okay the production crew well it's also about already how we use only mini DV and and what I found out when we did this the first year in 2000 is that I had a variety of camera types I had a hi-8 I had a mini DV somebody else had a DV cam and essentially given the fact that we're trying to get through so much production in such a short amount of time with resources we really felt like we needed to standardize so that we had one type of tape stock so that you know we can really we wouldn't have to worry about whether we had a deck available for a different type of media at any given time so again it's work and to the extent to which now we turn people away if they don't have the type of equipment in the future we might create a higher quality production arm as part of our digital media program and kind of use newer high quality technologies that way and but right now we've been doing the mini DV so you've got those and you've got your editors and your quality reviewers and sort of the way it works since we're not normally in the convention center space is we take a room and we turn it into an editing suite in about six hours and the way we can do that really easily is by using Apple equipment Final Cut Pro and we basically get a you know an Ethernet connect into one of our subnets so that we can move content easily and we install final cut across all the machines that we have at our disposal which varies from year to year depending on all sorts of factors and we also load cleaner six on them one year we had a compression farm available to us a cleaner central product and we did things a little bit differently we sort of like the minute we were done editing we compressed but due to sort of constraints compression what we do is let it all day and then will compress at night so we run this editing suite from say 9 a.m. to 6 p.m. so that people are freed up to move around at night to get more content or to enjoy the event heaven forbid so that's how we sort of produce all of our digital video in a nutshell so this is just a short clip on basically Richard Linklater curly Jarmusch do you do you storyboards at all or just sketch out your shots and at that let us know Larry I used to more I think that was just insecurities like thinking I would be on the set and not know what I'm doing and everybody wakes so a plan out each shot much more in advance but now I've enjoyed showing up and having some some vague ideas or some overriding like say rules stylistically for the film but kind of discovering stuff almost dead but you it's the same I used to run never use the storyboard I used to try to make shot list yeah alright little coming in because I like walking in there and making the film while thinking on your feet but if you have a shot list too than the production's on your ass like well you have to get this many shots today yeah like it's lunch and you've only got three at 8:00 or have one o'clock will be 14 after lunch yeah no problem look I'm knife set to that we have always had this joke of like before lunch it's gone with the wind and after lunch it's the Dukes of Hazzard right this we do Theresa so this is sort of another example playing into the content production of how we do it our main goal is to basically get the stuff shot and edited and turned around in 24 hours because you know the the event itself is about timeliness but we also need to follow a sort of realistic path so what we do is we get all the tapes stock and we have a particularly centralised sort of numbering scheme and then we have a checkout process and a check-in process and we basically take a crew of this year I think we had about 25 videographers and so they all come in and check out stuff and they check it back in and then we've got a person who keeps track of what's been shot and they show a you know the list of stuff that's just come in to a person who sets editing priorities according to what kind of stuff we need to show now what's the hottest stuff what seems like the highest quality and then we move that through the editing chain and people edit and different editors come in and they work on different projects but essentially by keeping it at 2 to 5 minute pieces of content we're able to get to through a lot more very quickly so if we have a longer segment or whatever that we want to present we'll chapter eyes it and do like at this part he talks about this and at this part she talks about this so they gives us a lot of flexibility in terms of delivery and we we found the best success with QuickTime progressive download because of its quality and because of its ease and serving it over HTTP so we've got this this thing we don't really know what's going to be in the highest demand and it's a really easy way to load balanced serving the content if you can slap it on any web server here's a photo from this year and this is what we used some G fives and then we had a couple of people bring in their power books because they were like I really want to edit on my thing so we let them do that and and then we use Final Cut Pro and cleaner sixth as I said before because of the simplicity of the sort of plug-and-play nature of this equipment and software we're we don't need to take two days to build an editing suite you really just bring it in and set it down and plug it in and so this is really a really good thing for us because then we have editing stations that kind of come and go throughout the week according to well we need to put this one here oh and then we need it over here so we kind of just balance how many editors do we have and who's good and they'll get heavier workflow so again here's the guidelines you know we really try to find that moment you know rather than get really fancy and put in motion graphics and do all sorts of things like that we just try to find the moment keep it simple make a few cuts and keep the audio processing to a real minimum sometimes if you've got sort of low quality production on the tape we'll use sort of built-in EQ and filter audio filter effects that come with final cut and that's a big reason we don't use that we use final cut say over something even more basic like iMovie it's because it has the ability to do the more advanced things but it's also really good it's just doing something simple so I'll have an editor who's like well I've worked on avid forever I'm like oh you can learn final cut in five minutes this is a really good thing for us yeah so as Scott was just mentioning I mean the the plug-and-play nature of what we get it's Mac OS computers with firewire and QuickTime just in terms of reliability and simple simplicity just keeps life much less stressful than it might otherwise be they just work you bring them in you plug them in you set somebody in front of them it's pretty easy we we like Final Cut Pro for a couple reasons it does have a lot of power but it's not so intimidating that you can't put somebody who's volunteering in front of it and and give them the guidelines and have them do a good job the other benefit of it is the people who come to work on it they get the experience of working with a professional media authoring tool and they also get some tutelage from the senior on-site producer they basically get a lot of valuable experience it would be very tough for them to get otherwise in addition they have the ability to claim or use the footage in their demo reels if they wish so they get credited with the work that they do on the piece when it's presented and then they have the option to use it to leverage into other other work later on and that's it's pretty it's a pretty rare opportunity if you don't already have that background in your resume it's tough to sort of get the first break to get it and so it's a really great place for people who are trying to get the experience to build it up so this is just kind of a this is another short example of a piece that I think somebody who is relatively first time you know videographer did a couple years ago and yeah so it's it's short but it's it talks to the things that Scott was mentioning earlier about trying to really capture the the salient you know key moment of a particular event thank you you want to be near me marry me I mean what if they know right off crime that brings up very important point which is Owen first of all thank my wife here he was doing an introduction in Q&A at the Paramount Theater which is one of Austin's sort of oldest movie spaces and [Music] well there you have it oh you might have known noticed that all these pieces have like a motion bumper sort of graphic thing on the front of it well it's something we've tried to do for the last three years is basically make one for interactive and one for film on one for music and we'll basically just take a finished motion graphics piece that a friend of mine was doing for us and we'll just drop it in we'll put it on all the different editing stations say Oh before you finish up we need to drop that in and it just becomes easily part of the final cut movie so let's talk a little bit about the delivery aspect of this in terms of what the goals are with actually making the media available and the goal was do you have basically we recognize that not everybody has DSL or even ISDN source of lines we still feel like there are enough people out there that have slow connections that we need a low bandwidth version of the media but we'd also like to provide a really good experience where people really do have the fast connections so we want both high and low bandwidth versions and obviously we want this to play in as many platforms as possible and of course we get that with QuickTime because it can play in a variety of different browsers on Mac OS and Windows it's perfect for what we need and you get the the standard user experience no matter which platform you're using or what browser we also get the benefit of we want the playback to begin as as quickly as possible we don't want the guy to go click on a link and then wait and watch progress bar there are also cases we want some basic content detection with the media where you can't just sort of arbitrarily download it and go post it for wherever you want we really want people to come to the South by Southwest site to get this media also we didn't want any particular licensing restrictions in terms of whatever technologies we use to to produce the media and deploy it so basically mpeg-4 and AAC actually fit the bill but very well for us it does well at low bandwidths and high relatively high bandwidths it's certainly available to sit in QuickTime it's on Mac OS and Windows and since we're delivering as a QuickTime movie we get all those nice things like we can get progressive Bama and fast start and we can disable saving and all the standard things that you get as part of using QuickTime as your deployment media so in terms of preparing the media and in keeping with the keep it simple sort of philosophy we really don't do a lot of filtering and we're always starting from the same media so we don't need 50 different settings who are always starting from DV and we have a low bandwidth setting that we used in cleaner and those are the parameters for those who are curious it's basically just the standard sort of postage stamp video that you would get on a on a 56k modem but it's mpeg-4 it looks pretty good and you have pretty decent audio with it for high bandwidth we went to a quarter screen 320 by 240 and it's full frame rate and you get very nice stereo sound and in fact the clips that we've actually been viewing here are the exact same high bandwidth clips that we encoded for the show so they're not something we did special for the show it's just what you see up on our website so that's what we've been watching here today and it looks pretty good so I think Scott touched on this a little bit earlier we do try to do some basic automation cleaner six has the ability to basically add drop folders where you can take your source media drop it in and just have it sort of automatically run through whatever settings files you're using we use the full resolution DV media output from Final Cut Pro just drop it into a desktop folder the editor doesn't really have to know anything about it it gets picked up and processed and dropped into a review folder for the quality reviewer to come and look at we do we also get film trailers for the people that are doing premieres and we'll encode these in exactly the same way so that are the high end low bandwidth versions of the film trailers as well they're available during the show so if you want to check out to see what what's worth seeing in terms of the premieres what you know what kinds of things match your tastes you can go check those out and they're available before actually before the show doing the show and after the show as well and one thing I did want to point out is we have been experimenting with mobile media and it's a very important aspect to some of the future directions that Scott will talk about later something we played with is kinoma now this this isn't part of QuickTime but it is a QuickTime movie exporter so it fits very nicely into the QuickTime centric flow that we have in terms of the production and you know it will run on standard Palm OS devices you know things like the trails will play it any of the Sony devices and it's it can be targeted for basically for playback on any color device so you can you don't have to worry about whether it's going to play on a particular version of Palm OS or a particular model cannot will actually take care of all that for you the interesting thing about this is that I'll be palm devices by law have the IR transceiver so once somebody has this they can actually beam the media to another device at the show they can you know hey this is a very cool clip or hey you might want to go check this out they can actually just beam it to somebody they can look at it they can share it it kind of just proliferate on its own throughout the show you can also download these things from the net if you've got a web enabled phone you can pull these things down and play them in the player when the questions you might have is well gee why kinoma why not 3gpp we're very keen on being able to do 3gpp stuff currently we find that there's actually more people with palm devices that tend to show then people with 3gpp probably not a big surprise to most people in here so we are doing the economic stuff right now but to go to the 3gpp or say h.264 in future really doesn't perturb our workflow at all it's just it's another QuickTime plug-in we can use the same production flow we've been using it's it's really no change so it's quick time really makes this very very convenient portion and very flexible okay future directions as Gary was saying the three 3G is definitely something that we've been interested in a long time and given the sort of content sizes the two-minute movie the 30-second movie we think that this is going to be you're really not a very difficult transition for us in terms of our projected production change I think we'd also like to get into some more sort of full live broadcast stuff but there's only so many volunteers and only so much equipment and basically there's just we have to dedicate more resources more equipment and better talent to basically put and say yeah we're going to do just the live broadcast the thing is because we use sort of volunteer camera people everything they shoot is not I mean you know right now we've got about 500 hours of footage from the last four years we did 200 of that this year and I haven't really been able to watch for log at all definitely not and then there's some great stuff and there's some just atrocious like why were you filming the floor and in the thing about you know we basically have to put a higher quality sort of production team on on the lab stuff but it's definitely something we're working towards and something we'd like to to do in the future we we also have been we did RFID stuff for the first time this year and I think we'd also like to continue to look how our sort of badging and authentication systems because we you know we have the whole access control thing how we can get that to play with the delivery of our of our digital media you know say in some sort of kind of DRM model so really like let's see where we can take it kind of in the future but right now we continue to make our content available for free to anybody and that that's been pretty well and I suspect that until sort of bandwidth overhead and things like that become a problem we'll continue along that route because we're trying to promote these artists and these filmmakers before during and after the event and and that's what we use these tools primarily for so lots of lots of possible things to do in the future and we're just trying to figure out how we can come out at different angles and utilize the new technologies for a huge real-time sort of deployment kind of you know it is a case it's a built-in case study because every year we're trying new things oh that can't work or wow that kind of work you know and that's just sort of how we've developed and I find that integrating new technologies available especially you know along the lines what we've been using now is is a great thing for our attendees to see because they're there in the entertainment industry and they're thinking oh my god what are we going to do you know with all this new stuff how are we going to play and digital space with the relationships we have so so I mean just some closing remarks that that we'd like you to go away with here is that you know as we talked about at the outset of the session South by Southwest really has kind of a different problem than perhaps a lot of you are used to it's it's really about trying to process a lot of media at a very good quality level very quickly with high turnaround and to make it simple you know to keep things very easy very simple very reliable so that things don't break down during the show because it is a very compressed time scale it can be very stressful so quick time really kick guilt helps us with this with this problem because I think one of the things that perhaps people miss about QuickTime is that if you just do the simple things with the tools that Apple has that the bass quality level is really quite impressive yes you probably could make some some better video output or perhaps a better compression what perhaps you've seen today but just what you do out of the box or the very simple stuff with fairly untrained people or novices is really quite amazing and QuickTime really makes that possible and it South by Southwest with the kind of resources we have they will really want to be possible that something like QuickTime well it is the the learning curve for the people that are doing the work - because oh I've played with that oh I'm familiar with that so we've got a whole lot of people that we work with who have already used the products are already familiar with you know trying to put their stuff out there and so we kind of follow along those lines because there's already enough to do and with getting our volunteers who have never worked together before except maybe the year before all sort of in this rapid production environment and working together and answering each other's questions and and so the less obstacles and the less variables we introduce to this situation the better off we are and then we also have the headway with with the tools to to increase quality and as people become better or as we get returned volunteers from years I asked their skills increase the tools are the same it scales as their capabilities and experiences scale now I guess the other point we'd like to leave you with is just you know hey it really is easy to integrate QuickTime technologies and Apple technologies with some of these open source solutions that are out there it takes a little research on the web but there's really some amazing things that you can do integration wise that are may seem sort of intimidating to start with but really with a little bit of Investigation you can do some incredible things as David is certainly shown with the with the iTunes playlist stuff that that we deployed this year and with that we have a parting clip of john landis talking about digital tools in filmmaking I learned early on there's no such thing as the artistry of filmmaking because this is interesting about film film is not art people don't understand that film is craft filmmakers are craftsmen just like carpenters but a carpenter can make a chair that becomes art in the carpenter can be Charles Eames or Chippendale but the vast majority of chairs are just that chair and they're sturdy and they function they sit on them you know I have a very dear friend who's a great filmmaker named David Cronenberg and David actually considers himself an artist and he's one of the few filmmakers I know who can seriously discuss his work as an artist and not sound like a pot I mean he's very serious about it and David brilliant then how would I do that David and I come off like a jerk you know because I know a lot of filmmakers very famous filmmakers who discuss their work like that I think oh shut up like who nevermind all right little bit more people always go how do you feel about the lack you know the fact that there won't be film in 10 years and there won't it's just well that's what's happened self making as a craft is so new and we're talking about something's 100 years old 100 years old I mean sculpture painting you know I mean they they've had a lot of time you know filmmakers not 100 years and so the the equipment's evolving all the time and I think the biggest change in film was probably talking and the first time that happened that was a shattering blow that I personally don't think film has ever recovered from sound absolutely because before sound film was completely international but and sound came in and made it the Tower of Babel and it just it's that anyway but in terms of tools they're tools and I think everything's kind of how you use it thanks very much