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>Hello Video Creators,
>
>I'm writing to let you know about a new feature in Democracy Player 0.8.5 that
>will help you get more subscribers for your RSS video channel:  the Democracy
>1-Click Subscribe System.
>
>In short, you can make a button for your website that will let users subscribe
>to your channel with a single click.  Here's the button maker:
>
>http://subscribe.getdemocracy.com
>
>
>WHO'S ALREADY USING THE BUTTON?  HOW CAN I TRY IT OUT?
>
>Since we announced the 1-Click subscribe system last week, a bunch of exciting
>channels have added a 1-click button to their site.  Here are two examples
>where you can try buttons in action:
>
>VH1's Best Week Ever:  http://www.bestweekever.tv/
>(they put a custom button in their sidebar)
>
>Hombrelobo TV: http://hombrelobotv.com/
>(their button is in the sidebar as well)
>
>
>WHY SHOULD YOU GET YOUR VIEWERS SUBSCRIBED?
>
>Democracy Player is the most popular application devoted specifically to
>watching video RSS feeds.  We strongly believe that our user interface
>provides the best way to watch internet TV channels and the best way for
>publishers like you to present your content.
>
>When you get a user subscribed to your channel, they have a continuous
>connection to your content.  This means that they don't have to remember to
>check your webpage.  More subscribers = more viewers.
>
>
>HOW DO I MAKE A BUTTON?
>
>It's easy.  Just go to this page and enter your feed URL:
>
>http://subscribe.getdemocracy.com
>
>Then pick a button and put the code on your site. That's it!
>
>
>MORE NEWS ABOUT DEMOCRACY PLAYER
>
>1. We recently posted a comparison of Democracy Player and iTunes.  It
>explains why we think we've got the best video RSS functionality anywhere:
>
>http://getdemocracy.com/articles/video_podcast_shootout.php
>
>
>2. The 1-Click system described above goes beyond typical 1-Click Subscribe
>systems, because it lets Windows users download a version of the player with
>your channel pre-subscribed if they don't already have the player.  It's like
>your own custom video player that arrives with your content.  More details are
>here:
>
>http://subscribe.getdemocracy.com
>
>
>3. We are hard at work on the next version of Democracy Player, 0.9.  This
>will be a major update, adding functionality like Playlists, Drag and Drop,
>and, if we can squeeze it in, the ability for users to add additional channel
>guides.
>
>4. As always, you can get more news about Democracy Player by subscribing to
>our blog:
>http://getdemocracy.com/news/feed/
>
>
>We are working every day to build the best possible video software for viewers
>and creators.  Please let me know if there's anything that would make
>Democracy Player even better for you and your viewers.
>
>Sincerely,
>
>Nicholas Reville
>Co-Founder, Participatory Culture Foundation
>http://www.getdemocracy.com

Hi,
>
>We are excited to release Baby Democracy Player (version 0.8.4) today, for
>Windows, Mac, and Linux. Baby Democracy is our first child, the first stage in
>a growing Democracy Player to come! We'll let you know when Democracy Player
>becomes a toddler, a schoolkid, etc. (We'll have pictures soon!) Baby
>Democracy is more stable and faster too, it's a strong and healthy baby!
>
>Download it here: http://www.getdemocracy.com
>
>If you're a digg reader, you can also spread the word and digg the story here:
>http://digg.com/software/Democracy_Player_is_new_baby_of_Open_Source_Internet_T
>V
>
>Democracy Player is now much, much more stable-- we've fixed every crash and
>freeze that we know about. The application is also much faster, especially
>with lots of videos. This version is still a beta, but we're getting close to
>shedding our infant coats and becoming a 1.0 app. Our development team have
>been waiting anxiously to release 0.8.4 Democracy Player because there is two
>months of intense development that we have to show. The developers would also
>like me to note that we finished exactly 420 'tickets' (bug reports, features,
>etc) for this release.
>
>There are also a couple new features, most notably: you can now use Democracy
>Player as a desktop video player-- you can drag and drop or open videos in
>Democracy from your desktop. They will start playing and will be imported
>into your library. This is an important step towards making Democracy a good
>homebase for all the videos on your computer. (On a mac, this is especially
>nice because you can watch videos fullscreen with nice fullscreen controls,
>without buying Quicktime Pro.)
>
>Finally, we are already in week 2 of our 4 week development cycle for version
>0.9. Now that we've stabilized the backend, there are lots of features to
>look forward to-- folders, playlists, drag and drop within the app,
>non-english versions of the app; go here to help translate:
>https://launchpad.net/products/democracy/trunk/+pots/democracyplayer),
>Democracy as a generic torrent application, and for all you publishers:
>one-click subscribe and install / subscribe. Plus a bunch of nice UI tweaks
>and further speed improvements.
>
>We'll be releasing development versions of 0.9 each Friday and we could
>really, really use your help testing, if you like living on the edge. Just
>join the testers list, we'll email you when we post a new version and you can
>check out the new features as they arrive:
>
>http://participatoryculture.org/mailman/listinfo/testers
>
>See how cute our baby is at http://www.getdemocracy.com.

Distro Bistro
by James DeRuvo
You've finally got that masterpiece in the can, now what?

You've managed to produce your great American film. So, what do you do next? If nobody besides your family and friends see it, what's the point? The next step is distribution.
Screen Test
A public screening not only gives you the unbiased feedback of strangers who see your film, but also provide the opportunity to draw in other filmmakers and do some networking. After all, filmmaking is a collaborative effort and the more kindred spirits you can meet and swap business cards with, the better for the success of future projects. Then there's the added benefit of local press.
The first thing you want to do is secure your venue. There are plenty of great places around, which could be turned into screening venues without breaking the bank. The thing you want to think of is… location, location, location. A centrally located venue will make it easier for your audience to come to your screening. And the central hub is usually the ideal location for local theater companies that have seating and snack bars, while restaurants, coffeehouses, pubs and nightclubs all sell food and drinks.
All will be eager to bring in a packed crowd on a slow night to improve the bottom line so the key is to think "off night," and sell a manager of a venue on the fact that you're providing a solution to that problem. Bringing in people, who will not only watch your film, but will buy their food and drinks. And if it's successful enough, the manager may want it to be a regular weekly event. Which is good for you, and good for your colleagues who want to also showcase their work.
Then, when you hold the screening, advertise the venues food and drink specials, letting the management know you care about their success for the evening including your own.
Once you've secured the venue, you want to consider the equipment you'll need to pull off a successful screening. A 25" TV and a VCR won't cut it if there's 50 or 100 patrons expecting to see something on a silver screen. This is where one needs to think not only big screen, but also projection TV. The larger the screen, the more impact your film will have on its audience. Contact local video groups and join them. You'd be surprised what equipment you may gain access to by making a few friends and sharing resources. There's also local camera stores, which operate rental equipment. Make a deal to offer some sort of cross promotion, or get them to sponsor the event.
Getting the Word Out
This is where the real work begins. Use everything from postcards and flyers, to a well-placed ad on web sites like craigslist.org, which can let people know the where and when of your screening. And every community has "free" newspapers whose ads are very affordable. Their circulation is often large and with an eye-catching ad, people may just get the idea for a night out.
There's also safety in numbers. People may be more likely to come for a screening if a full bill is planned. So, not only showcasing your film, but the films of friends and colleagues (especially shorts), can offer a mini festival feel and give more bang for the buck. It's also much easier if 5 fellow filmmakers are splitting costs and effort to get the word out, than for you to go solo.
If you do go the "co-op" method, though, you need to protect yourself with some simple ground rules:
    Length. Make sure you only take submissions that are short. Like ten minutes. That way people are more likely to stay over the course of several shorts rather than a marathon of features.
    Ratings. Be careful of how racy a film may be. This is not only to avoid offending your audience, but also to avoid offending your venue management. Nobody likes bad press, especially word of mouth. Stick to the basic guidelines of the Hollywood ratings system and show films no "harder" than what some would consider PG-13..
    Rights. Make sure that any film you show has secured rights to music used, has signed talent releases, and location release from property owners, unless it was on government property. The rule of thumb should be, if you think you need a release, get one. And if you don't think it's necessary, get one anyway.
The Big Night
If you don't want to host your screening, then find a charismatic host who can entertain and moderate the evening. Perhaps a local comic or radio personality (this offers the added bonus of possible PR potential in the form of an interview or at least an on-air mention of the event). Make sure the cast is on hand and offer a brief Q&A so the audience can engage with those they just saw in the film, and it also can offer for some instant feedback on the screening.
Competition - The Next BIG Step
Once you've had a screening or two under your belt and have gotten some really good feedback, it may be necessary to go back into the editing room in order to dial your film in for the next big step -- Film festivals. These competitions not only offer exposure, but also a chance to garner awards, PR opportunities, and even exposure to those who can distribute your film. But the question is, how to get into one?
Web sites like filmfestivals.com offer comprehensive coverage of festivals from Cannes to Slamdance. And many festivals get some or all their submissions from one stop sites like withoutabox.com, a service started by filmmakers to submit to a wide variety of film festivals by only creating one package. Free to the filmmaker except for film festival entry fees.
The key is to find the best showcase for your film. Granted, every filmmaker would love to see his/her film get the Palm D'Or at Cannes, but that's unrealistic. Mainstream festivals like Cannes or Sundance are not only way too competitive, but have gone "corporate" with major studios or Indy labels taking up all the air in the room, and raising the bar to the point that smaller independent films like yours may not even be considered.
Often times, being a big fish in a niche pond is more advantageous. Film Festivals like the Santa Barbara International Film Festivals are more into discovery than popularity. And many films often "tour the festival circuit," gaining buzz off a smaller festivals, which can position them to be noticed and accepted by even larger ones.
The most important thing when submitting your film is to assure it has the best success by following the submission requirements to the letter. If the festival wants your film on DVD, don't send it on VHS.
Once selected, the way you market your film can directly affect its success at the festival. Be at every single screening for the Q&A, and for the entire film festival. Be armed with cards and flyers telling the time and get volunteers to pass them out. Make friends with filmmakers and the press office. Be visible, and be nice. Get your actors to come to support your film and be ready for the Q&A.
Film festivals offer both jury awards and audience awards. And many times, the audience award will garner your film better publicity and buzz than the jury prize. Both are good in helping your film to take the next step.
Online
Finally, the World Wide Web has changed the world of filmmaking. In today's high speed, mobile world, people are driven by what they see on the net as much or more than on television or in the theaters.
There are web distribution options like peer to peer file sharing (P2P). Networks like BitTorrent offer a great way to get your content out to the masses, but the downside is the difficulty with keeping track of who has possession of your video and what they are doing with it. Additionally, if you're not careful, you can also get computer viruses and spyware via P2P downloads. So, although it can be a great method of distribution, it can be slightly dangerous as well.
Legitimate options can include offering your film for download from such web portals as AtomFilms and iFilm, which can give your film exposure, while portals like Yahoo or Google Video can even help you sell your film via purchasable downloads. Both YouTube.com and MySpace.com are also becoming very popular ways to get your video out. What's really cool about such portals as iTunes, is that the infrastructure of vidcasting allows for getting your film out there via RSS feeds, a way in which video players and computers can automatically download by reading the XML file for updated content. Additionally, iTunes is the hot ticket right now for downloaders so exposure is excellent.
Every portal has its own requirements for how a film should be encoded for download, and it's usually easy to find this information on its website.The idea is to get your film out there. Get it watched and get it noticed. From there, who knows what the next step can be?
James DeRuvo is producer and editor for a broadcast production company

Recording Special Events
by Randal K. West

Shoot it right the first time for a lifetime of memories.

OK, I admit it; I plead guilty to occasionally watching those "Judge" shows on television. You know the ones: girlfriend buys ex-boyfriend a cellphone; girlfriend sues. It seems that next to cellphone-purchasing subpoena-happy girlfriends, the second most visited lawsuit is the not-so-happy newlyweds suing their now ex-videographer for failing to capture the important moments of their special day. The prosecution's primary complaint, the couple was counting on the videographer to "get it right" as weddings are "once in a lifetime" events. Other special events such as Bar Mitzvahs, reunions, memorials, and anniversaries fall into this category, but weddings probably set the highest bar on the scale of the most important day of our lives, (at least for videotaping.) So, should we avoid taking on these projects because the liability is too great? No, the secret to avoiding the punitive measures of the people's court is to know the possible pitfalls of your project and prepare appropriately.

See the Scope of the Project
Even if you personally know the clients, and especially if they are friends, you need to meet with them well ahead of the event and have a meeting of the minds. Don't just assume that your understanding of the scope of services required is accurate. Sit down with them and discuss the entire event from start to finish. What do they want shot? What do they want as an end product? Will you be passively documenting whatever you see or will you be shooting behind the scene footage? Will the audio include the ceremony and ambient sound only, or do they want you to shoot informal interviews with the event participants? It's a good idea to put together a very simple letter of understanding to be signed by the client which states both sides perception of the project. It may well keep you out of Judge Judy's court!

Location, Location, Location
Plan to scout the location before the actual event. Know where everything will take place and bring along a camera to shoot reference shots. Arrange to speak with someone from the location that can answer your more technical questions. Ask about amplification, how it's done, and the location of the mixer. Can you run a sound tap from your camera to the mixer? Have someone show you the lighting if it is standard, and ask them to stand in while you shoot some sample footage. Try to visit the building at approximately the same time of day as the scheduled event. This will give you a sense of the natural light and how, if at all, it will affect your shooting. If it's a nighttime event and there is a large stained-glass window that is backlit, be sure to turn on those lights so you can gauge whether you have a backlight problem. Pay attention to the air filtration system. Although you probably cannot turn it off, a noisy air conditioner can create sound problems that must be compensated. Use the mic on your camera and record some room tone so you can assess any potential problems in each room where sound will be recorded.

Pre-Planning
You can now create a plan to execute this project. If you can take a line from the mic mixer, will you need RCA plugs or XLR connections? If one channel is going to a mixer tap you can use the mic on the camera or put a shotgun mic pointed toward the audience on the other track if you have a 2-channel camcorder. The pick-up from the mixer will be very present but will tend to feel flat. If you want to blend the sense of the room or participant reaction, such as laughter or applause, it is probably worth the second microphone. Plus, if the front mics miss something, you'll have a backup. If you have several locations, you may want to bring an assistant to help set up and "leap frog" the location you are moving to before you get there. Having the assistant monitor and adjust audio while you are shooting is another good use for a second body. If you have to add lighting, try to mount it on the wall or ceiling before turning to light stands. If you must use light stands be sure to sandbag the bases and bring plenty of tape, (Gaffer's tape, not duct tape, as duct tape will leave residue on the floors and is difficult to remove from cable). Be aware of foot traffic patterns when choosing your light locations. Decide where you will need to be to get a good shot without obstructing guest's line of sight. If possible, shoot down a little at your subjects rather than up at them. This helps keep stained-glass windows out of your background, which will almost always require increased front light to balance.

Pre-Production
Test all of your equipment well before the day of the event to verify that everything is happy and ready to operate. All cables should be in good shape and be sure to test your connections. Be sure to include extra lamps for each light and extra extension cords in your travel kit. A 6X6" piece of sky blue gel and an equal piece of light bastard amber should be included in your kit at all times.

Lights; Camera
Arrive early and walk each location to insure everything is the same as when you scouted. Set up your lighting, do all of your sound hook-ups, secure your equipment, and test everything before the audience begins to arrive. Be sure to have batteries standing by in case of a power problem with the house system, or if you plan to shoot while moving between multiple locations. If you need to make marks for the participants, use subtle tape as a floor mark and explain why it is important to try to stand on them. Nothing is quite as bad as the officiant blocking the bride or groom throughout the ceremony. If you white balance and the shots seem either too blue, (too much sunlight), or too yellow, (too much house lighting), try white balancing through your blue or amber gel. This might not help, but many times it will. Be sure to white balance in each location and preset your favorite settings before you begin shooting, if you have this feature on your camera. If you can, you might bring a TV monitor you trust to use as a reference for color and focus.

ACTION!
Get set in your shooting position and get "ready to roll." If you feel comfortable shooting on Auto settings (focus, iris, sound levels), go for it, but know your camera well enough to be able to switch to manual in a heartbeat. Aunt Bea moving in your foreground can cause problems with your auto focus, and shifts in light or backlight that overpower your front light can force you into using manual iris to compensate. Although you've preplanned for every contingency, be ready to create solutions on the fly to compensate for unexpected events. Know how to create solid shots and know your equipment so you can problem solve while shooting.

So Go Do It!
Although I can't promise that we'll never see you on The People's Court, if you put the same energy into planning and producing your special event videos as you do into executing them, you will create videos that meet and even exceed the expectations of your clients. After all, preserving the "most important events" in people's lives is a pretty noble calling if you ask me. So what are you waiting for? "Roll tape!"

Randal K. West is the Vice President/Creative Director for a DRTV full service advertising agency.

Sidebar:

Troubleshooting

Know whether your camera needs a high or low impedance sound input from the mixing board.
Very few cameras can take an amplified signal into the audio input. You may need an attenuator.
We once had a ladder standing by when the event started late and the sun set (enter God's biggest back light.) We were able to put the cameraman on the ladder, shift the camera position to the left, and elevate the shot enough to allow the iris to be opened for a better shot.
Gaffer's tape, (made for film/video production) is a better choice for securing cables. Duct tape will leave difficult-to-clean residue on the floor and the cables.
If you encounter a video or audio snag after set up, swapping out cables is the fastest way to eliminate most problems. Work logically and systematically until you isolate the matter. Always have enough redundancy in equipment to swap until you identify the glitch.
Don't share any potential problems with your clients unless you truly cannot solve them without their assistance or within a reasonable timeframe. If you have to tell them remember, they will probably have an emotional reaction. Maintain a professional demeanor and avoid being drawn into the emotions of the moment as you attempt to positively problem solve.

The Breakdown TV and Scribble Jam Announce Collaboration

The hottest new Hip Hop video show THE BREAKDOWN TV which broadcasts
exclusively online at www.TheBreakdown.tv and SCRIBBLE JAM, the biggest all elements Hip
Hop festival in the United States are collaborating on the "SCRIBBLE JAM Video
Tour Blog".

The Video Tour Blog will be seen only at www.TheBreakdown.tv and will feature
the hilarity of Mr Dibbs as he takes us on the road behind the scenes from the
pre liminary MC battles held around the country leading up to and through the
main event, SCRIBBLE JAM held in his native Cincinnati, Ohio on August 10-13.

....
SCRIBBLE JAM

SCRIBBLE JAM as the name implies, started as a graffiti festival and has grown
over the last 12 years to become the largest Hip-Hop festival on either side of
the Mississippi. Every August the event takes place in Cincinnati, Ohio and
showcases not just one, but all the elements of Hip-Hop as they are meant to be.
Scribble Jam has turned into a cultural meting pot of people who embody every
element of Hip-Hop. Thousands of people come from all over the world for the
opportunity to network and showcase their art.

The MC battles are legendary having hosted greats like Eminem, Juice, and
Rhymefest. Each year the grand prize take has grown to where now the pot is over
$10,000.

This years rumored performers include Big Daddy Kane, Murs, Brother Ali, Lupe
Fiasco, and many others.

www.Scribblemagazine.com
www.Scribblejam.net

....
THE BREAKDOWN TV

The Breakdown TV is the world's first Hip Hop video show to broadcast
exclusively from the web at www.TheBreakdown.tv The Breakdown TV is a combination of
unique artist interviews and a prized catalog of Hip Hop videos ranging from the
new school hits to the classic hard-to-find old school classics. The show's
content and quality has been compared to Yo! MTV Raps. Currently in its second
season, The Breakdown TV has drawn audiences from all over the world. The web site
features archives of past episodes including interviews with Immortal
Technique, MOP, Jean Grae, Mr Dibbs, Qunique, Hangar 18, and many more of hip hop's most
respected artists.

www.TheBreakdown.tv
....

For more information, questions, concerns contact:

Timmy Grins
timmygrins@arcanemusic.com
1-443-857-8775
www.THEBREAKDOWN.TV

....
www.arcanemusic.com
www.q-unique.com
www.myspace.com/hangareighteen