We are back with one of our very top Spidcast episodes to date this month (listen in below and subscribe to "Spidcast" on iTunes) with a focus on filmmaking, web series, the business side of Indie TV, and other interesting sound bites! June's Spidcast features the incredible individuals; Sandra Payne and Carter Mason. They are our amazingly talented, passionate, and insightful guests for our 17th episode of Spidcast on June 12, 2012.
Full transcript below
Michael London: Hi, I’m Michael London. And welcome to Spidcast, the Future of Collaborative Video Production brought to you by Indie Source Magazine where they believe free is better. On this episode, we are talking with writer, director, producer, filmmaker and somewhat of a pioneer of digital production for the web, Sandra Payne and we’ll also visit with co-founder and CEO of JTS.TV, Carter Mason. Carter will share with us some of the all-important business side of show business.
First up is Sandra Payne, Sandra, welcome to Spidcast.
Sandra Payne: Well, thank you very much for having me. I’m excited to be here.
Michael London: So, tell us a little bit about yourself.
Sandra Payne: I was born in Alaska, we’ll start back then. I always think that’s a little bit of a fun part of my story. I was born in Fairbanks and grew up in different places around the world. So, I lived in Indonesia for two years when I was in middle school and then went to boarding school for a year in Austria and then finished high school in Seattle and I’ve lived in North Carolina and Oklahoma where I graduated from college and then we lived in Dallas for eight years when I wrote for “Barney” and also did (info) products for a sister show, “Wishbone” the PBS show, “Wishbone” and then we moved to Los Angeles in 1999.
Michael London: Well, that sounds suspiciously like the storyline of an army brat.
Sandra Payne: Actually, no. My dad is an engineer and so my parents met and married in Alaska when it was still a territory and then my dad was a civil engineer so there was a job that was happening in Indonesia on the island of Sulawesi and it was nickel mine and so my dad was there helping build a dam to provide hydroelectric power. So, we had a life of riley when we went there. It was on the equator. It was fantastic and I had correspondence course school and spent the time afternoon running around the jungle and going to the pool.
Michael London: So, has your globe-trotting helped with your writing?
Sandra Payne: I think it’s critical. I think one of the things that I have come to realize as I get older is how valuable it is to live. I think that as a writer, you have to have experiences to draw from and there’s two different ways to live a life and one is experience life and to live life and to choose to go after adventure and another way of living is to be someone who’s maybe more stationary but I think from my perspective, it’s hard for me to know what it would be like actually because I don’t have that ability to access what that life would be like but it seems to me, it would be harder to be able to craft story and to craft characters because you would have someone’s (life) exposure to different aspects of life. And so I find my background really helpful when I’m diving in to figure out who a character is.
Michael London: So, via Indonesia, Alaska, North Carolina and Texas, how did you find your way to LA?
Sandra Payne: Well, when I got the job writing for “Barney” pretty much, Dallas had a couple of shows that were in production at that time, one of which was “Walker, Texas Ranger.” It was 1999 and so I was writing for “Barney” and then maybe the next step might have been writing for “Walker” and then that was that. And so when I was there, I went to several of the Austin Film Festivals and at that time, it was called the heart of screen writing film festivals so there was a lot, they still do a lot of seminars and stuffs about screen writing and the focus was very much on the writer and every single time I went, they’d say, “You have to live in LA,” like all the panels would come from LA and they would all stare at you and would say, “You should live in LA.” And I kept hearing that over and over and I was resistant but when I was finishing up my first year with “Barney” I realized, you know what? I kind of need to live in LA.
So, we came out here and had a look around and decided to take the plunge and I have never regretted that. It was a great decision and I’m very, very happy. I think it’s much more possible now to not have to actually live in LA to make a life happen in the entertainment realm but even in 1999, that was a different world. We didn’t have digital content like we do now and you just, everything I think was much more geared for life in Hollywood being in Hollywood.
Michael London: So, tell us about that. Tell us how you made the transition from traditional media to the online world?
Sandra Payne: Well, after kicking around Hollywood for a couple of years after I finished up my stay with “Barney” and I wrote some screenplays and got them auctioned and it was all so exciting but as you know, the average time from writing a script to getting it on screen is seven years so you can’t really hold your breath and it was getting frustrating for me because I wanted to see my work on the screen and I had things I wanted to write and to have to rely on other people to green light you and to make that decision, it was difficult and as an artist, as a lot of us are, I think we all have that drive to do our art and if you’re a screenwriter, your art is dependent upon a chain on so many other people.
And so in 2008, I went to the Future of Television Conference. I got this awesome opportunity to go through another friend and it was an $800 conference and I got in for a lot cheaper and when I got there, it was mind blowing. It was, again, 2008, February of 2008, I remember it clearly and I sat through the whole day listening to like the head of Sony and all these people talking about where we were heading and all of the sudden, I was like, what is happening? The entire industry is shifting and I had no idea. I had (Vagary) at that time I heard of web series. I’d heard of lonelygirl15. I didn’t really have not even considered making one myself. At the end of that day, I was like, I got to make a web series.
And happily, one of the people I bumped into turned out to be Tim Street. He was on the board of the International Academy of Web Television and he was wonderfully accessible and when I said, I wanted to do this, he was like, well, call him when I was ready and I did and he gave me some great advice and I plodded forward. It took me a year and I finally was in a middle of production of my web series in 2009 and I wrote on my Facebook page, I love making web series and my friend, Kristyn Burtt who was the creator of The Web Files and collaborated with me on that show. She called me and said, “Hey, do you want to make a web series?” And her idea was a web series where we interviewed web series creators about their web series and I was like, that’s genius. Let’s do it.
So, we dove in and over the course of the next year, we made 51 episodes about one per week and met so many great people in the web series world and had a wonderful, wonderful year but it ended out deciding at the end of that year for me personally that I wanted to get back to writing some fictional work and I was pretty much letting go of doing the writing side because the web files was taking so much of our time that I was really producing and directing more than anything else and I wanted to get back to being a writer.
So, I had a short film that I had written and so in late 2010, I started working on producing that short film and it’s called, “Death Inc.” and when I started working on that, I had a makeup test day that I did in October of that year for the short film and when I paid the makeup artist for the testing, I was like, if I’m going to pay for the makeup test, I might as well make a web series.
So, that’s how “Ask Grim” started which is my third web series. My first one, by the way, the one that I was making when The Web Files happened was “Life with Kat and McKay” and that was a romantic comedy. So, it was a romantic comedy talk show and then fictional comedy talk show called, “Ask Grim” starring Tom Konkle because he’s in my short film as the Grim Reaper so we ran down to, my husband and I went down to Venice Beach, interviewed a bunch of people about what questions they would ask the Grim Reaper and came back and then sat Tom down and share after his makeup was on and said, okay, answer some questions from the audience about this and we made three episodes that we uploaded in October and got a bunch of people writing back saying, “oh, I want to ask the Grim Reaper something,” and by that time, I’d done enough web series. I was like, oh, wow, we have engagement which is a big deal.
So, we ended up making eight more so we have 11 episodes of “Ask Grim” and then currently, I’m on hiatus for my (three). I won’t be making any more web files and likely not anymore of “Ask Grim.” I have a few episodes of “Life with Kat and McKay” to finish putting out there but I’m currently a staff writer for “CHICK” which is a (friend of mine’s) series. Kai Soremekun and that series is, it’s fantastic. I just love working on it. I’m so grateful to be a part of it. It’s basically this quirky drama web series that chronicles the exciting adventures of one young woman’s quest to become a superhero and we’re working on season 2 and I’m part of her writing staff and there’s four of us and her and so we took about six weeks to break the story out and then we’re each writing episodes right now and it’s been a blast. It’s so much fun so I can’t wait to see how that comes out for season 2.
Michael London: And that was, it’s called, “CHICK”, right?
Sandra Payne: Yes.
Michael London: And where can we see that?
Sandra Payne: CHICK is at whoischick.com and also on YouTube and I think it’s on YouTube but whoischick.com as well.
Michael London: And tell us, Sandra, about your experience as the Events Chairman of IAWTV.
Sandra Payne: Well, that has been rather exciting ride. It turns out that there are a lot of events that the International Academy of Web Television is up to and it’s been really wonderful in many ways just because of the people that I’m able to talk with to put them on panels and how with building out a presence for the IAWTV in various places around the country right now. So, as matter of fact, working on Blog World New York’s, it’s Blog World and New Media Expo in New York City and it’s the June 5th through 7th coming up next month and what’s exciting about that one is there’s an entire web TV track going on to that; 24 different panels all about web television with some really great people who are going to be speaking exactly to the topics that a lot of us want to be hearing from and about.
And so I’m very excited on that front to be helping out with things like that and we have Vid Con that’s coming up at the end of June and we just finished up a Digital Hollywood run with several panels there and I’m already working some people on South by Southwest so that next March, we’ll have a presence at South by Southwest.
Michael London: Very cool. Lots to learn there. So, give us a bit of a preview for the newbies. What is your advice to someone just jumping in to web media?
Sandra Payne: Gosh, I have so much advice. I’ve learned so many lessons. One of the wonderful things about this space is that you live and die on your own sword. I mean you just have the opportunity to really learn and I mean, sometimes, it’s terrible because you learn lessons and you’re like, oh, gosh. I wish I had known ahead of time and so one of the things I would say is there’s a lot of resources out there now, a lot more than probably were out in there in 2008. So, read up and study if you are going to be launching and going forward in the web series where there’s a lot of content that you’re going to be competing with and I think the biggest lesson from my perspective is that it’s not really about creating a web series, at least 50%. I would say more like 75% of your time will need to be spent marketing your web series because it’s definitely not, if you build it they will come situation. You have to be out there finding every eyeball and getting them engaged and getting them excited about your web series and asking them to come back and watch future episodes and building your fan base.
So, I think that if you’re going to start a web series, your work starts now. You have to start, if you’re new to the whole thing, start now to build your presence online, to have a social media presence, to be able to have a certain level of people that you can tell that you were launching a web series and then keep them posted on how your progress is going.
And then from the creative standpoint, make sure that you really have thought through your idea. I think that one of the mistakes for me back in 2008 which maybe in the future won’t be a mistake so much but was making a romantic comedy. I mean my romantic comedy having went into “Barney” make sense, these are kind of on the sweet side. I’m not super edgy and so here’s my little web series out there with like nothing edgy in it really and I realized later, gosh, I pretty much aimed for an audience that wasn’t at that time watching online video. I mean, so you got to think of who’s watching on my video right now? I used the demographic there. How will you be able to reach out to them and if you are really going to target them, you have to think of ideas that are going to fit with who’s watching.
So, if you’re going to make a romantic comedy, maybe now it’s more possible than what it was 2008, but it’s still going to be a tougher road to find your audience for romantic comedies than it would be if you’re going to make sci-fi and that’s going to be true for the foreseeable future, I think.
Michael London: Sage advice, Sandra, so speak for a moment if you will about the help that collaboration affords.
Sandra Payne: I think that one of the wonderful things about is you guys this podcast and everybody who’s out there who’s helping build this space is that we all are pretty in touch with each other and we do support each other and I think that has been the biggest most wonderful thing about being in the web series (in the old days) is that the level of support that you can get in this side of content creation and probably because it’s a no threat level.
I mean when you’re playing the big guns in Hollywood, there’s millions of dollars on the table and everybody is fighting for every last of those crap but in our littler realm, yes, it’s not a lot of money on the table so everybody seems pretty helpful and truly interested in making sure everybody is successful and I think it’s been just absolute blast plus it helps you hone your skills. There’s really nothing more telling than putting up a video and having people watch it and comment on it immediately and you don’t really get that if you’re writing for television. You might not necessarily know what’s hitting your audience right with your episode on television versus your episode on YouTube. You’re going to get a lot of comment. But anyway, this podcast and things like this are just fantastic.
Michael London: And then speaking about your web series and content, where can we see everything Sandra?
Sandra Payne: Well, thank you for asking. That’s so sweet of you. Hopefully, my short film, Death Inc. again will be coming to a festival near you so keep an eye out for that but I do have several websites. Spwrite.com is my home site and pursedog.tv is my web series site and both of those are also my names on Twitter. Spwrite is sort of my overall brand of me and Purse Dog TV is my web series brand that I put on my web series underneath of it and then I do have “Ask Grim” and “The Web Files” is also out there on Twitter. And then YouTube, I have channels for all of those things. So, Spwrite has a channel on YouTube. Purse Dog TV has a channel on YouTube and “Ask Grim” has a channel although “Ask Grim” channel is actually called Rappin with the Reaper without a G and yes, I shouldn’t have named it that and “The Web Files” has a YouTube channel and a Daily Motion channel.
Michael London: Well, you certainly walk your talk when you mentioned having a web presence.
Sandra Payne: Yes, I’m sorry. That was like (his) laundry list and web presence there and the fast way to find me is go to my Twitter because SPwrite, I will definitely respond to you. I respond to everyone who writes me on SPwrite and famous Purse Dog TV. I love it when people write me on those things. It’s so exciting to have people actually talk to me.
Michael London: Excellent, Sandra and now for that one last nugget of advice.
Sandra Payne: Well, I think the best thing I could say to someone is if you’re even considering it, go for it. It’s so much. You should totally make a web series. Don’t let anything stop you. Just go out there and do it.
Michael London: Sandra Payne, thank you so much for joining us today on Spidcast.
Sandra Payne: Thank you so much, Michael. I really appreciate it.
Michael London: Spidcast, brought to you by Indie Source Magazine, the fastest growing independent filmmaker resource and the only free publication of its kind. Now, their mission is to bring you not only stories of the industry’s highly celebrated but stories and insight from players in all areas of the media creation process. At Indie Source, they believe free is better. I agree with that. Visit them at indiesourcemag.com.
Michael London: Joining us now is Carter Mason, the co-founder and the CEO of JTS.TV. Carter, welcome.
Carter Mason: Thank you. Glad to be here.
Michael London: So, let’s jump right in. Give us a reader’s digest version of you, Carter.
Carter Mason: My background is in the business and legal side of film and then also being an actor and writer myself. And so I created JTS.TV seeing a need for both quality content that’s independent to emerge amidst all of the lesser qualities is the nice to say it web series and the kind of productions out there and also, financial model that would sustain for these independent creators, TV quality programming that’s not made for a networker’s studio.
So, what I, mostly right now, we’re focusing on finding the quality content and getting the awareness out there to get subscribers for JTS.TV so that the shows are getting watched by more and more people.
Michael London: I got to tell you, that seems like two completely different sides of your brain. How do you do that?
Carter Mason: Well, most people are not wired like I am so I guess I call myself a hybrid sometimes and that’s part of the reason that the idea even came about for our network is that I had these relationships with all these independent creators who basically, they just wanted to make their shows and they had no concept of how to make money off of them and part of that is that it’s very difficult because nobody has figured it out completely in the digital space yet anyway and so then they ask creative who don’t even want to deal with that aspect to figure it out. It just wasn’t going to happen and the problem is when you have a property that is worth something and by property, I mean shows or films, somebody else is going to create a financial model for you and most likely it’s not going to be the most beneficial to you.
And so what we have right now is this buffer, people who are trying to monetize basically had supported content and the only people that benefits are the advertisers and the companies with enough shows and films to get millions and millions of views but then that money is spread out over a small part, a small chunk.
And so for me, I was actually looking at this conversation earlier today with somebody. I had a show that I was pitching and I wasn’t willing to make it in the current environment and so the way that my business brain was thinking was we need a model that will work. We need a model that will work for TV quality productions which is what I wanted to do and it really wasn’t out there and readily available to anyone and so basically, the desire for my own work to be sustainable was one of the factors and starting JTS.TV, being creative and business minded at the same time.
Michael London: So, as a kid, were you a movie hound or a creative kid?
Carter Mason: Yes, I was always creative. I was more entrepreneurial as a kid but I was always intrigued by acting and writing but never really pursued. I remember in high school actually sitting down and trying to write a novel and it was just really random for me because I was always business oriented and I did things like I promoted baseball card shows and started the baseball card shop by senior year of high school. I went in and opened it up after school.
And so the creative side of me didn’t have an outlet for a long time. I was so focused on business and now, I feel like in my life, there’s (serenity) between both the business side and the creative. I get to do both.
Michael London: I got to ask you, Carter, what was your best score ever as far as selling a baseball card?
Carter Mason: On a baseball card? I sold a pretty poor conditioned 1952 Bowman Mickey Mantle for 2000 bucks. I don’t remember the exact, (then and) now the exact price. That’s been 20 years.
Michael London: I just love those stories. So, you seemed to be drawn to the web more so than traditional media. Tell us about that.
Carter Mason: Well, I just see that the content delivery of the future, the way that people want to consume media and the way that they’re forced to consume quality media right now is not in lined. And what we see is that there are going to be more network like us emerged that don’t need a cable subscription or a broadcast mechanism other than the internet and so the internet is now something that almost everybody has access to and the way that people want to consume it is to pay for what they want or watch ads when they want.
But if you look at what people really want, the people that are trying to cut the cord from cable, they’re signing up for Netflix (woo-hoo) and then on their Roku boxes are their Samsung connected TVs or all the other (box here) or what have you. They are purchasing or downloading specific channels to what they’re interested in and the cable world, you have this base subscription that you have to have before you can add anything and that’s the problem. If HBO and Showtime and Stars disconnected from cable which is not going to happen anytime in the near future but if they did, the cable industry would die in my opinion because people are keeping, a lot of people—honestly, I am one of them. I would not have a cable subscription if I could just subscribe to HBO and Showtime. Love their television shows and if I could get those without a cable subscription and not downloading them illegally, I don’t think that’s right. So, I would cut the cord from cable myself.
Michael London: I completely agree with you. I stop my subscription to a satellite radio service because I was being forced to pay for channels I didn’t want to listen to.
Carter Mason: Some of the (re-plans), I was one of the panel of the Catalina Film Festival and somebody was asking about (Topa) and we’re talking about video and piracy and what have you and it came up. My take on the whole thing is that when you start allowing people to buy in a way that they want to buy, piracy will go down and you’ll look at when the iTunes (4) flourish and when there were other options for buying music? Do people still illegally download music? Sure but do a lot of people pay for music? I for one buy more music over the—I have bought more music over the past five years than I ever did buying CDs because it’s the way that I want to consume it on devices that I can listen to it and when the video industry catches up with that, and we’re not tied to cable for a quality programming, you will see less and less piracy.
Michael London: I couldn’t agree more. So, tell us a bit about JTS.TV and what it’s all about.
Carter Mason: Well, right now, we have 16 independent TV shows. Most of our shows have some type of exclusivity. Some of them, our new episode released shows right now are all completely exclusive and then we also have a deal with some shows where we’re the only place you can get them without ads and so what we offer our subscribers is some original programming that they can’t get anywhere else and some of the top shows that maybe difficult to find through all of the lesser quality series that are out there and available. People just aren’t going to watch ad after ad to get to bad show after bad show so we kind of serve as a curator and people know that every show on our network is worth a chance.
I talk about HBO and Showtime a lot. I like the premium model and that’s really kind of, after it was created, we started using the identity that we are premium independent television network and it’s after the model of HBO without a cable subscription and so but you look at the quality of programming when one, you’re not thinking about sponsors, you’re not thinking about ads and two, the creator is just thinking about the creation of their project, that’s the only interest they have. It’s a better experience for the viewer and the fan and I sidetrack a little bit. I do that from time to time because the main reason for me mentioning HBO and Showtime again is when you watch a show at HBO or Showtime, because of that high standard of this is just the show the way the creator wanted to make it and then they execute it the way they want to make it and not worrying about the sponsors, you know that every show on HBO or Showtime is worth a chance at least looking at the pilot. It doesn’t mean you’re going to like every show on their networks but it’s worth a shot.
And so that’s our goal is just to have such a high quality bar of content that our subscribers know that even if every single show is not their cup of tea, they’re going to give it a shot with a pilot because they may find a (jam) and a genre that doesn’t normally intrigue them but because the show is done differently, you are so special as a story, so good. They may find something that they like.
And so the bar of quality is very important to us and so the two standards are great story, high quality story and that if you watch one of our shows on a TV, if somebody walked into the room, they would just think you’re watching any other TV network but it’s that quality.
Michael London: Love your outlook on things, Carter. I truly do. So, help us if you will look into the future a bit. I have a Blu-ray player and I can get several channels on that plus Apple TV plus a satellite dish, will there be a time when we can look to consolidation at least with the delivery hardware?
Carter Mason: Not any time in the near future but there’s already some consolidation happening. What’s happening is that smaller TV and I don’t know if smaller is the right word but not every TV platform, TV set or Blu-ray player right now has a capability of creating their own channel store or think it’s a good idea. So, you’ve got Yahoo TV widgets and Google TV channels that are starting. They’re both king at the (right angle). Google TV has got a little bit stronger. I think Yahoo is losing a little bit of its edge but we’ll see where that goes. I know that losing some of the newer sets and people are going more to Google TV platform and Samsung has its own, but I think they also have sets and players that work within Yahoo and Google both.
And so there are so many different devices and technologies out that that there are entire companies that are springing up and their whole business model is being able to get your video content in the hundreds of different and it’s literally hundred. I think Netflix says, there’s like 800 different platforms that they accounted for because there are varieties within some of the platform. They may have had 10 different channels for one type of, or one company’s set of devices. That’s not going to change any time soon. They’re going to fight over it and they’re going to try to keep the proprietary.
Roku’s proprietary, Roku’s got three million of their devices out there now, I think is the number and they’re not going to shift out of their platform and they don’t open it up to others, the user a few. So, the short answer, the long answer I guess is that there’s no real—there’s not going to be any real consolidation as a whole but there will be the major platforms for TV sets and players that you’ll start to be able to do one Google TV app or one Yahoo TV app and get on 10 or 20 or 30 and more devices which will help the situation but there won’t be consolidation to one.
Michael London: Not exactly the answer I was looking for at the moment but you touched lightly on something that I’d like to dig a little deeper into and that’s new content. How would a producer catch your eye?
Carter Mason: Well, the easiest way right now even though we’d get a lot of submissions, send an email to firstname.lastname@example.org and that will go to Keith who’s our head of acquisitions. He looks at pretty much everything right now and we plan on doing that for the near future but for the most part, we have been very selective and it comes from our relationships and closely monitoring the space to see what’s out there. But if somebody has a TV quality production that has not been released yet, we absolutely want to look at the pilot, at least to where whatever they have to show us, and to begin discussing because we believe that we have a better financial model even starting out like we are not writing near the side of the checks to be writing yet for royalties but for most of our shows, to use the limited exclusive shows for example where we’re the only place you can get it without ads, I haven’t asked them but even smaller checks (than we want to rate), they’re bigger than they’re getting from their ad based platforms.
Michael London: Very cool. Now, once again, you hit on something kind of lightly, I want to dig a little deeper here as well. You said you’re getting a lot of your content through personal relationships which bring us to networking, which brings us to collaboration. How important is the collaborative community?
Carter Mason: Collaboration has been enhanced in the independent TV community. A lot of people used the word web series. We don’t really use it especially for our shows because web series to us doesn’t convey TV quality and so you’ll hear me say indie TV or independent TV community or short-form television or the smaller episode shows a lot. But there’s so many websites connecting people and the independent TV community is pretty tight knit once you get into it and organizations like the (DW.TV) did a good job of trying to connect people to each other and to brightly sources as well.
And you’re just seeing that people that could have never met 5 or 10 years ago connecting and developing amazing projects. I think you’re going to see more and more of that and filmmaking in general have moved outside of Los Angeles and there’s a lot of political factors there too like (Beta) California not competing with tax credits. There’s other places but then there’s just a fact that you don’t need as much being in LA the cost production has gone down so much, you can have a professional quality camera that movies are being shot on for a few thousands of dollars.
Michael London: Oh, yes, the changing phase of almost everything via technology. Carter, what advice do you have for someone just beginning?
Carter Mason: Well, I always say you have to have a business plan. It’s a business and so unless you have some source of money and you don’t care about getting a return, you cannot just make shows as art and expert to earn a living that way. You need to have a business plan. You need to find out your objectives. Right now in the space honestly, there’s no real sustainable model that is yet to be proven. I can show you that our numbers when we hit 50,000 subscribers, a 100,000 subscribers, we will be funding TV quality productions just based on royalty, not even like us doing original programming just shows on our network, we’ll be able to go out and pay people full rates.
And so understanding your objectives which is part of a business plan is key. If you just want to showcase your work and then try to get future work, then make that a part of your business plan but your goals, have achievable goals. You need to know what you want out of the project and why you want to get into the space and if it’s to make a lot of money, right now, those opportunities are here and far between and so you’ve got to talk to a lot of people and find out who is making a living doing this and how they’re doing it and if that’s a price you’re willing to pay to do it and what I mean by a price that you’re willing to pay is most of the people that are able to make a living on independent television right now at least for the web are working for sponsors or branded entertainment which means you don’t have a 100% control on most situations of your content.
Michael London: Well, I guess, there’s got to be a tradeoff somewhere along the way. So, Carter, what would be your parting shot?
Carter Mason: Subscribe to JTS.TV, just kidding. Actually, yes, that would be great. We need subscribers and we do a three-day free trial but for the filmmaker, really try to be in tuned with what you want to do and what you want to achieve and look at that and then set your roadmap for where your life and do little things everyday that get you towards your goal.
A lot of times we look for the homerun and really that’s not the way that anything ever is really achieved and even something that looks like a quantum leap is not a quantum leap, it’s the result of little things being done consistently and regularly and so if you already have a show, make sure that you are doing what you can to promote and network and get it out there everyday, not just at big events or in spurts. If you are looking to get on to productions, network all the time to find out who you can help out whether it’s paid or not paid.
And then I would say advice for the fans is if you want to see these top quality shows go on, look at models like JTS.TV and actually spend the money rather than watching an ad that takes a fraction of a penny for your view, buy videos on demand from independent producers if you really like it. Donate if they’re not on a network like JTS.TV because I fear everyday about amazing creators who say they’re not going to make any more shows until they know the money is there because they can’t do it.
So, if you want these shows to go on, subscriber to JTS.TV, buy videos on demand and donate a few kick starter and then to go campaign if there’s a project that you really think is interesting and you want to see it paid.
Michael London: I got to tell you, man. I love your passion. I love your commitment. I wish you huge and continued success.
Carter Mason: Thank you so much. I really appreciate the opportunity to share and I love talking about what I do. So, thanks for wanting to know more about JTS.TV and me and I really appreciate it. Thank you.
Michael London: Thanks for listening to Spidcast. We appreciate your time and attention. You can now join the conversation at spidvid.com or on our Spidvid blog and you can join our collaborative filmmaking community at spidvid.com. Tune in next month for another entertaining and informative episode of Spidcast.