telex
 
  • davis logo
    Davis Media Access's offices
  • A video on Luminosity's YouTube channel
  • A visionOntv training template
  • An edit suite at Davis Media Access
  • A video on AbsoluteDestiny's YouTube channel
  • The visionOntv platform's menu
  • telex
    Davis Media Access's studio control room
  • Laura announcing a video on LiveJournal
  • visionOntv's YouTube channel
  • mixing board
    A mixing board in Davis Media Access's control room
  • Obsessive24 announcing a video on LiveJournal
  • One of visionOntv's Twitter feeds
  • Davis on air
    The entrance to Davis Media Access's studio
  • Laura recommending a video on her Dreamwidth journal
  • visionOntv's Facebook page
  • marin control
    Community Media Center of Marin's studio contol room
  • Here's Luck's website
  • visionOntv's Blip channel
  • mural
    Davis Media Access office's wall mural
  • Here's Luck announcing a video on tumblr
  • Merseyside Street Reporters Network's Facebook page
  • MarinWindow
    The Community Media Center of Marin's offices
  • AbsoluteDestiny announcing a video on Dreamwidth
  • Merseyside Street Reporters Network wiki page on the visionOntv platform
  • Davis camera
    A studio camera at Davis Media Access
  • Luminosity's video "Vogue"
  • Sara Newton's YouTube channel
  • Marin cameras wide
    Remote control studio cameras at the Community Media Center of Marin
  • researcher
    The reseacher (left) co-operating visionOntv's "pop-up studio" at OpenTech 2011

FrankDogg Productions

FrankDoggPro logo

A FrankDogg Productions promotional logo

 

Frankie J. Woods lived in Davis, and had been affiliated with DMA for over a decade.  His stated aims in producing television programmes were to promote his skills as a video producer so he could get work, and to “[show] youth that they can do what they want to do without a negative edge … I make positive TV”.  He did this through producing programmes that were almost exclusively about the local hip-hop music culture. This video is an example of one of his early productions, filmed in the DMA studio:

Frankie had an ambivalent relationship towards the Internet as a distribution medium.  He saw it as important because it “gets me known outside of Davis”, and “because it is something you have to do”, referring to what he saw as the audience’s expectation that public access shows should be available online.  However, he struggled with the medium in several ways.  For instance, he had a YouTube channel, set up in January 2009, but he stopped uploading to it during the time I was researching him.  He told me his reason for this was that YouTube takes many of his videos down.  He interviewed a number of hip-hop artists, and sometimes recorded their performances as part of this, and he believed YouTube was taking them down because they mistakenly believe he did not own the copyright to the videos.

Frankie had previously used MySpace, having set up an account in December 2005, but it had been dormant for some time, and did not have any videos on it.  When I asked him about this, suggesting it’s focus as a music-based social networking site made it a good fit with his activities, he replied: “it used to be [about music] … not anymore – MySpace is dead”.

Because of these issues with YouTube and MySpace, Frankie had more recently emphasised Facebook as a distribution platform.  While he had maintained a Facebook page for his production activities since July 2010, he had only recently started to directly upload his videos there, rather than just providing links to other hosting services, like YouTube.  He believed they had more lenient terms of services with respect to copyright, and that they also allowed him to upload longer videos.  However, his relationship with Facebook had also been problematic over the time I had been observing his activities, and he would occasionally take his page down for weeks at a time because he felt he was spending too much time on it for too little return.

Of all the public access producers I researched, Frankie had the most online interaction with his audience around his videos, although this was mostly on Facebook, and it was typically restricted to only 2 or 3 “likes” and as many comments, with one of those usually being a response from Frankie. He also used his Facebook page to keep people informed about his video making activities, and these posts sometimes attracted more comment (example).

Frankie was unconcerned by this lack of interaction around his videos, as he had no interest in developing an online community, on Facebook or elsewhere, but rather saw these websites as “broadcasting stations”, suggesting a more traditional public access attitude toward audiences.

However, he disliked using 3rd party websites in general, and would have preferred to have had his own to allow him the freedom to upload whatever he wanted, but he did not have the technical expertise, time or resources to create his own.

Finally, Frankie’s early experience of 3rd party platforms limiting video length, along with his perception that he need to "get the message across quickly" for an Internet audience, had led him to create shorter, faster-paced videos, of which the following video is an example: