Why the Streamys Matter
Much has been written about the fail-factor at the Second Annual Streamy Awards. Inaugural IAWTV member Kent Nichols wrote about it on his blog and Nominee and Radio Producer Chance McClain wrote about it from the nominee’s perspective on his blog. Rightly so. Even though I laughed-out-loud at the streakers, the unsavory jokes, etc., I cringed with Chance McClain at the thought of bringing my son to such a show (my eight-year-old and I are working on his first webseries and he is completely excited!). I hope he has a reason to attend the 3rd Annual Streamy Awards. What felt most disappointing, having flown from Connecticut as an attendee and member of the IAWTV, were the persistent industry-self-deprecating jokes from the stage. Like my work or don’t like my work, much of it has been viewed by the millions (though admitted some by only the tens). The truth is that it takes a dedicated team of people to craft a webseries. But, to make a REALLY compelling webseries takes even more than that.
Why They Really Matter
My first year as a voting member of the IAWTV, I had the privilege to view and vote on the many, many webseries that were up for awards. Here’s what struck me: the high quality of the work that was nominated. Sony posted some great work (and wins, for that matter), but so did those charming musical kids from Radford, VA. Here’s me with Michael Gregory’s Aunt in front of the theatre:
The women of OzGirl respresented from down under tapping the unofficial network of indie web television, blip.tv, to achieve the self-described “web’s hottest drama’s” global reach. Nominated were compelling dramas, incredible documentaries, laugh-out-loud-funny comedies. These works set the standard for what people will strive to compete with and exceed this year and subsequent years. Many of these works display the fruits of lessons learned in traditional media as well as from the years that YouTube reigned supreme in online video content. Working against the running industry-self-deprecation joke was the fact that there was an award for Best Branded Entertainment where the international brands joined the competition (competitors included: Topps, Altoids, IKEA, Lexus, & Spherion). If it wasn’t clear during the event, it should be clear by the line-up of nominees that online video is important to major entertainment companies (Sony, MTV, etc.) and significant international consumer brands alike (see the aforementioned nominee list). Every winner in every category has done something unique and special and set a mark to be bettered. Every year new technology and techniques develop but as they do, they have history to improve upon. The slate of nominees and winners have set the stage for even better webseries in years to come. Simply put, that is why the Streamy Awards matter.
Putting on an awards show or any major live event is not like creating online video. There is no POST production, save the after party and a good postmortem. Budgets help. So does experience. With promises to sponsors (and an improved event in year three), budgets will grow. The show will improve…no doubt. What remains constant is that when there is an opportunity for the best and brightest to compete, it compels many of them to even better works. I, for one, am looking forward to the Third Annual Streamy Awards and hope to be assigned a seat next to my son, who will be nine.
Written by @SibLaw_Official
April 20, 2010 at 4:01 pm
Tagged with Altoids, Auto-Tune the News, Blip.tv, Chance McClain, Crackle, Dina Kaplan, Easy to Assemble, Gregory Brothers, IAWTV, IKEA, Illeana Douglas, Kent Nichols, Lexus, Mark Gantt, Michael Gregory, MTV, OzGirl, Sony, Spherion, Streamy Awards, Streamys, Topps, Tubefilter, Webseries, YouTube, Zoe Bell