The Kinetograph

THE

Kinetograph Ezine spring 2022 Worst 10 movies filmed in Austin

Death of Broadcast Television “The Marvel Effect”

CONTENTS Introduction 4

Meet the Editors

Written By: Ashwath Menon

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Written By: Gael Garza

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Lights, Camera, COVID COVID-19 and the global pandemic affected any and all indistrues, but how has it affected the film industry?

Movie Production Timeline A simplified timeline of how movies are made

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The Marvel Affect High-budget Marvel movies have taken the box office by storm! But marvel has both its fans and its critics.

Top 10 Most Expensive Indian Films A ranking of the most pricy Indian movies in Indian currency.

Written By: Atley Carman

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Trials and Tribulations of Hollywood: Hollywood is the shining home of the American film industry, but nothing is perfect.

Top 10 worst Movies FIlmed in Austin TX: A ranking of some really bad moives, which all happen to be filmed in Ausin.

Film Set in the 1950s. Photo Courtesy of Philip Toolin

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Written By: Null Berg

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The Death of Broadcast TV Broadcast TV has been on the decline for years, and it has been caused by several key reasons that now shape how we view our favorite shows.

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Editing Software A simplified timeline of how movies are made, and the best softwares!

Conclusion 32

Behind the Scenes

Buster Keaton on the set of The Cameraman (1928).

Photo Courtesy of marthaivers

Old, behind the scenes photo on a film set.

Photo Courtesy of Harvard

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Null Berg I am Null, and I like making spreads and graphics that are not in Illustrator. I like videogames and I like to draw because I get bored easily. I would like to pursue Animation as a career after I graduate and all of my major injuries have been for ridiculous reasons.

Ashwath Menon I am Ashwath Menon, I like doing Water Polo and Theater tech. I’ve been in the last few Musicals put on by the school as a behind the scenes person. When I graduate I want to become a mechanical engineer for automobiles.

Meet The Editors Hello Dear Readers!

Thank you for reading our magazine, we have spent long days, losing our sleep, to present this magazine to you. As a way to showcast our love of movies, we dedicated this magazine to all the film-lovers out there! From some of the worst movies filmed in Austin, Texas to the most expensive Bollywood movies, our magazine is an entertaining read. We know all the movie-fans will adore it.

Sincerely, Ashwath, Gael, Atley, and Null

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Gael Garza Hey, I’m Gael, and I am an aspiring cinematographer/director. I enjoy relaxing by painting, and I am a member of the LASA Band. I am a part of a film internship called Creative Action, and I am helping with a movie that should premier this June.

Atley Carman My name is Atley, I’m a movie enthusiast who enjoys writing about the most bottom-of-the-barrel movies that I can find. I play video games in my freetime, and also really enjoy ziplining and spending time with my family. I hope to become a structural engineer after I graduate.

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Mike Nicholson and his crew filming a documentary during COVID, Photo credit of Mike Nicholson

Lights! Camera!

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Discovering what it took to make a major motion picture during the Pandemic

By Gael P. Garza

As you get ready to start work

rules for them on your brand new movie, you to follow. think to yourself, wow nothing “Most of can go wrong. Suddenly, the the TV shows entire world shuts down. This and movies new disease called COVID-19 we work on has started spreading across have that have the world and you don’t know actors that are when you’ll be able to go back part of a union to work. After about a year, you called the are finally able to start up again, Screen Actors but the industry has changed, Guild, or SAG, and you have to adapt to the and SAG as new way of staying safe while soon as COVID still trying to make a good piece started, sag was of media. like, we’re not After the film industry going to put started back up again there our actors in were still high covid numbers danger. Here’s and new safety precautions that what we need, if workers in front and behind we’re going to send an actor to the camera needed to follow. your set, or to your location for Changes in the types of stories whatever it was,” Brown said. that would be told, and which Brown’s studio was one of the workers would be allowed to first in the state to meet the return to work. Some people protocols put forward by SAG. have stayed working from This was very necessary to start home, some have had to go back having actors and other workers to set or to behind the scenes. come in again.

The way the industry makes “We were one of the films has changed from what top first three in Texas to get it once was, and now we take certified by SAG and then safety much more seriously.

For the first few months of the pandemic the entire movie industry was shut down.

Then, when it looked like things were going to start getting back to normal, many unions around the country started making protocols and conditions to protect the safety of their workers.

Shayna Brown is the founder of Chez boom studios which specializes in post production sound engineering, and agreed that the union she was working with had very strict

Skip Hobbie filming in Rio, Brazil Photo credit of Skip Hobbie

people were driving from other cities, people were driving to Austin to work in our studio,” Brown said.

Although Chez Boom studios was certified again, there were hardly any movie or TV shows that were being produced at the time. However, Brown gained a new client through the pandemic which Marcelo Teson on the set of his Movie “Touchy-Feely”

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Marcelo Teson directoring actors on the set of his Movie “Touchy-Feely,” Photo credit of Marcelo Teson

do work through the pandemic.

“One of my clients is the Texas Department of Health. And they had a budget to get COVID information out to people. So they were making lots of just lots of content for online TV, whatever, to tell people, Hey, there’s this virus, and you should wash your hands and cover your mouth if you cough.

And then it was oh, you should

wear a mask. Oh, you should get vaccinated,” Brown said.

Even though Brown had to change her studios work drastically because of the pandemic, some studios merely had to temporarily put on hold their existing projects.

Skip Hobbie is a Wildlife Documentarian from Austin texas. For the past few years he has been working on his own project. “[For] the past Woman recording her lines in Chez Boom two years, I’ve Audio Studios, Photo credit of Shayna Brown been working on a film called Deep in the heart that’s about wildlife and conservation issues across all of Texas. And that’s a film

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that’ll be coming out, hopefully, this spring… personally, COVID didn’t have a tremendous amount of impact, just kind of by luck, because I was working on this film about Texas,” Hobbie said.

Mike Nicholson, a small film director from the small production compony of Picturebox, has had a very similar experience to Hobbie.

Nicholson has had many feature length movies that were started before the pandemic began and had just been delayed.

“On the feature film front, everything I’m working on is stuff that started before COVID and has just been sort of delayed and is now trying to finish up, and I’m working on a film that’s for SXSW that I’m doing graphics score. And that’s something that’s been going on

for years, and it’s finally going to see the light of day, which is great,” Nicholson said.

Nicholson then went on to say that smaller projects have still been going on through out the pandemic.

“The commercial stuff for the little short form stuff, that’s, that’s typically always did, like it comes in it goes and it comes in and goes. So like, usually you get a project and you clip it out, and, you know, six, eight weeks, something like that,” Nicholson said.

Whatever the work entailed the employees of all these studios still had to follow covid protocols and that was very different from person to person.

When brown started returning employees to work she really had to start deciding who was necessary to be in the building

and who could do their work from home.

“I’ve been doing a lot of

“Personally, COVID didn’t have a tremendous amount of impact, just kind of by luck, because I was working on this film about Texas,” -Skip Hobbie, Documentarian engineering from my house, but I have an engineer in the studio who’s doing a session right now.

So for some sessions, you got to be there. If we have the actor on our side, we’ve got to be in the

studio with them… Dane was he he was in studio early on. So he would go to the studio and patch me in so I could still be involved in the session or even run the session remotely like you know with the the actor over there at the studio,” Brown said.

All in all there have been many changes to the film industry because of Covid.

All of the industry has been effected in many ways.

From Sound engineers, to small documentaries, to film directors, everyone has been effected. The Movie studios are changing and the industry is adapting the the current world circumstances. However it shows that the Industry is able to change and make sure that everything will work out.

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Movie production Timeline A Timeline to the way Blockbuster Movies are Made

By Gael Garza Story First, A story must be written that the writer would like to pitch as an actual idea.

Pitch Next, the writer will pitch their story to multiple movie studios until one decides to aprove.

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Pre-production A team is then assembled to start on pre-production which consists of casting, location scouting, ad making a filming schedule

Film Now It’s time to fil project, filming a b hollywood movie anywhere between months, not includ reshoots.

lm the big budget can take n 3-6 ding

Editing The editors then go through all of the footage and choose which shots to use and put the film in order.

Premiere Finally, the film is shown to the public and the project is complete.

Marketing Often towards the end of the editing phase a team will put together trailers and posters.

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The Trials and Tribulations of

Hollywood The truth of what hides under the glamorous facade

By Atley Carman The day was hard, 14 hours of grueling labor. You sit in the driver’s seat of the car on the highway, making your way home at midnight. Your eyelids start to shut, and the wrath of fatigue is slowly closing its iron grip around you. “Wake up!” you yell to yourself, slapping your face. This has temporarily saved you, but your eyelids start

to close again. This time you cannot resist. Your head starts to fall, and when your eyelids fully close, you are no longer able to be saved. Those eyes would never open again.

Hollywood has always hbeen known as a place where dreams come true. However, it is far from that. First of all, the odds of you making it

to Hollywood are incredibly slim, and once you are in the industry, you will have to work even harder to become a top director, actor, or any famous person that the public knows and loves. There have also been many accounts of mistreatment and terrible working conditions for workers. Only a handful of people such as Marcelo Teson

Protestor writing on car window, asking for fair wages.

Courtesy of: Myung J. Chun, LA Times

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have seen this firsthand.

“I got started just like anyone else, you watch movies, you like movies, you have big dreams about movies,” Teson, a sound editor who helped create the movies Grandma’s Boy and Southwest of Salem: The Story of the San Antonio Four said, “And so you decided to make some on your own. I came with it right when I was in high school in the late 90s. And it was right when an important

thing was happening, which is that it became easier for teens to make movies themselves.”

Teson is not the only person who started this way in the industry, in fact many people currently working in Hollywood started with dreams of inspiring others the same way movies inspired them. Teenagers who are drawn to creating movies and other similar productions often go to film

school for training, and to find their specialty in the production of a film. Thousands of students of these schools graduate and seek out jobs in Hollywood, all believing and hoping that they can become the next big name actor or director. Their dreams may often be shattered in the first few years as they find it difficult to find a stable job that could lead to a breakout role. There are people like Mike Solomon who recognize this

Film workers go on strike, fighting for fair pay and better working conditions.

Courtesy of: Barbara Davidson, Los Angeles Times

early in their career and decide they may not be up for the

challenge.

Soloman, a film school graduate said, “As far as, what is satisfactory to you for some people, if you just work on a sitcom that doesn’t really change or impact anything, but it makes people laugh, and it pays the bills, and it keeps people fed and happy. That’s success. And if that is sufficient for your judgment, then I think it’s a more plausible path to walk. But if you’re in a scenario

where you’re going into it, like I was, where it’s if I’m not making literal art, that is going to make people think and feel and have a deep impact on an emotional level, beyond just well, that was fun, I wouldn’t have felt satisfied.

So if that’s what you want, know that the odds are long.”

For many people in the industry, this can become reality. Always wanting more, but never quite able to get it. However, this is far

“I think everyone has to do a different calculus, right?”

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from the only issue that the industry faces today. For years, workers have been suffering from being overworked, underpaid, and mistreated by their superiors. This has caused many incidents of people suffering from extreme fatigue and depression, and people have died from falling asleep at the wheel when driving.

An extremely unfortunate event was the death of Halyna Hutchins, who was shot by a prop gun which somehow had live ammunition in it.

This all occurred on the set of the movie Rust, as a result of several miscommunications and safety misconducts. Dr. Kate Fortmueller explains: “Well, one of the big issues has always been long hours on set,” Fortmueller, assistant professor of entertainment and media studies at the Grady College of Journalism and Mass Communication said, “And sort of what I was saying is part of the things that didn’t suit me was kind of the hurry up and wait culture. And so there’s intense periods of needing to get things done, get things prepped, and then you’re waiting on talent, you’re waiting on other people to set the shot, etc. And all of that stuff takes a tremendous amount of time. It’s very physical, very physical labor. So hours have always been really long.”

Fortmueller has written two books on the subject of overworked and underpaid workers in the industry, Hollywood Shutdown Production, Distribution, and Exhibition in

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the Time of COVID, and Below the Stars: How the Labor of Working Actors and Extras Shapes Media Production. These books delve much deeper into the subjects covered in this feature, and if you need more information, look into reading these novels.

These issues have been around for a long time, but the introduction of the COVID-19 pandemic has only accentuated the problems. “It’s [the pandemic] increased costs in a lot of ways. They’ve got to build in testing, they’ve got

“Interestingly, the thing that’s funny with IATSE is that usually the most aggressive union in these negotiations is the Writers Guild,” to build in PPE and protocols and all of this stuff,” Soloman said. The biggest problem that this caused is that to keep consumers satisfied, the rate of production had to stay consistent, if not increase.

With the rise of streaming services in the past decade, and with many people finding themselves at home with

nothing thto do, as events, school, and everything else being canceled or going virtual, binge watching movies or TV shows became a common pastime. This meant that production would have to stay on schedule, yet the crew had to adhere to COVID-19 protocol, which made conditions even worse.

While these problems have existed ever since the beginning of the film industry, things are starting to look up.

Many workers unions and guilds have formed to protest for fair treatment. They have gone on strikes, protested in the streets, and worked out deals with higher ups to satisfy everyone’s needs. Two of the main groups are the International Alliance of Theatrical and Stage Employees, (IATSE for short), and the Writer’s Guild of America. In Spring of 2021, both groups organized a strike that was done in response to the increased difficulty of working conditions caused by the Pandemic.

Fortmueller said, “Just because they have writers who have a really strong sense of their labor history. They tell the stories, they have a real sense of self worth. Usually they’re the ones who are agitating to get better pay and stuff like that. IATSE, you know, they really haven’t struck in kind of a widespread way since the ‘40s. Some locals have gone on strike. It was really surprising what happened this past spring, because they haven’t had a really recent history of really pushing for better working conditions and residuals may

be higher pay, yes, but trying to improve their working conditions was kind of a new one.”

The fight for rightful treatment in Hollywood has been long and hard, and many have written about these issues

in articles in books. However, things have been looking up recently. In 2021, many workers went on strike, earning them leverage over the studios. The issue of unfair treatment of workers in Hollywood and other industries will most likely

remain a problem for many years to come, but if awareness of these problems and protests continue, the future may hold much more promise of labor rights.

Hollywood Sign, located in Hollywood, CA. Photo Courtesy of MyLittleAdventure

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The Worst 10 Movies Filmed in Austin

According to IMDB, there are the Corniest, Cheesiest, most Painful to watch movies ever shot in the Live Music Capital of the World!

By: Atley Carman

Posters and Ratings Courtesy of IMDB Ranking and Inspiration Courtesy of Stephen C. Webster

10. The Gunman (2004)

9. Children of the Corn IV: The Gathering (1996).

Based off of short stories by the one and only Stephen King!

8. Pineapple (2008).

Set at an actual Strip Club in Austin!

7. For Sale by Owner (2005).

Prime example of horror movie stupidity!

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6. The Breakdance Kid (2004).

Based heavily on movies from the ‘80s

4. The Adventures of Sharkboy and Lavagirl (2005).

Created by the Director’s 7 year old son, Racer.

Filmed at Highland Park Elementary and Zilker Park!

5. Circle of Pain (2010)

3. Homo Erectus

2. Killer School Girls from Outer Space (2011)

1. Texas Chainsaw Massacre: The Next Generation (1994).

Features Famous Actor of today Matthew McConaughey!

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The

Marvel Effect

by Ashwath Menon Learn about Marvel’s impact on the Film Industry

A collection of some of the most famous Marvel comics are displayed.

Photo Courtesy of Erik Mclean

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S

crolling through the articles on CNN, the one that catches your eye is, “‘Spiderman: No Way Home’ making millions at the box office.” It is all your friends talk about on social media.

Tom Holland this! Andrew Garfield that! Did you see Tobey McGuire?!

Nobody should need an introduction to Marvel. One of the most beloved comic series ever, the manufacturer of a kid’s favorite action figure, and the company behind the second-highest-grossing movie of all time. Marvel has had its share of ups and downs, but how has that affected the rest of the Film Industry?

Marvel started in December of 1939 and was originally called Atlas. Atlas became Marvel Comics and took off in the 1960s. Along with DC Comics, Marvel was a predominant comic producer throughout the 1980s and 1990s. The first actual Marvel movie was the 1986 Howard the Duck, as there were only Captain America serials before that. The more publicly known ‘first’ Marvel movie was Iron Man in 2008.

Jacob Snider is a comic enthusiast that works at Dragon’s Lair Comics and Fantasy, a comic store, located in Austin, Texas. “I first got into Marvel for the first time when I was a child, I want to say about 10 years old. I started to read some comics, and have read them ever since,” Snider said.

Almost every child in the 1990s and early 2000s

owned a Marvel comic. Snider was one of them. It shaped his views and ideas later on in his life.

“The whole point of me working in the comic industry working as a subscription manager in the comic store everything about that. It was because of my enjoyment of Marvel comics as well as other stuff too. But that was one of the factors,” Snider said.

Marvel was such an impact on his life that it was

Jerry Kung is enjoying his time at a nearby diner in New Zealand.

Photo Courtesy by Jerry Kung.

one of the reasons he picked the job he does now.

Although he loves Marvel personally, he doesn’t feel exactly the same about its effect on the film industry. In Snider’s opinion, he is neutral about how Marvel has affected the film industry. He enjoys the fact that it gets into spinoffs and that sort but he also thinks that it takes away from the greatness of other single movies that have similar themes.

A Marvel movie wouldn’t have been so great without its extraordinary

graphics and animation. One kiwi has had his share of animating movies at Marvel.

Jerry Kung is an animator for Marvel who graduated from Gnomon - School of Visual Effects, Games, and Animation in Hollywood. He loves his job as an animator because animation guides and helps with the flow of the story being told throughout the movie. He also shares that as a final animator, his work shows up on the screens that everyone sees. During his time at Marvel, he has worked on Hawkeye, The T.V. Series, and Doctor Strange in the Multiverse of Madness.

One of the things that led Kung to believe that Marvel has been a great influence on him is that it pushes his limits beyond just technology to his imagination and creativity.

Kung thinks there are a lot of pros and cons to Marvel. Kung’s pros are that they make well-built movies and he enjoys their movies thoroughly because he calls himself a ‘movie goer’ by watching them all the time.

But there’s still something that restricts his opinion and produces some negative feelings towards it.

“I think probably the worst part about it is the copycats and everyone trying to do the same thing, the DC Universe, the monster universe, the Dark Universe, everyone trying to make these different universes, and they’re not always succeeding, and it seems like a lot of money wasted.

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And a lot of time was taken up at theaters, where other more independent movies could be,” Kung said.

As the specific problem is not created by Marvel, it is one of the root

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causes.

He adds later that Marvel has made movie experiences more exciting but he just hopes it doesn’t kill the smaller films, that are still as great.

Diving deeper into the VFX of Marvel, one woman has a voice to be heard. Jacquelyn Racine is currently a VFX Manager at Marvel and has had a job at Paramount Pictures. She also works closely with the Vice President of Visual Effects at Marvel, Danielle Costa.

“Working for Marvel has changed the trajectory of

my career forever. It is life-changing not just for its name but also for the experiences it brings,” Racine said.

She is fairly new to Marvel and considers it an extremely welcoming and friendly environment for all sorts of people. She noticed that everyone at Marvel clearly loves their job and feels passionate about it.

She shares that everyone at Marvel has the same goal of outputting a well-worked and breath-taking movie for the fans to love.

She also has a take on how it is to work at Marvel. She truly loves to work at Marvel and it is the most interesting and entertaining job of hers.

She was excited every single day to wake up and work on these films.

Racine has worked

on highend movies like Mission Impossible: Fallout and Terminator: Dark Fate outside of Marvel. During her time at Marvel, she has worked on Shang-Chi: The Legend of The Ten Rings and Spiderman: No Way Home. She

Racine, posing for a headshot.

Photo Credit by Jacquelyn Racine.

expects to do much more in the future.

Before Marvel, Racine worked at Paramount Pictures. She explains it as a different structure than Marvel, specifically because of the content they’re producing, but she said that the one thing in common is the end goal of

making a remarkable movie.

“Personally, I love Marvel. I love the content we’re making – I think it’s a great blend of action/adventure, comedy, and drama. All types of people can find something to relate to and appreciate for themselves. I’m proud of the product that’s being showcased to the world,” Racine said.

Her personal opinion towards Marvel is upstanding.

Her feelings on how it has impacted the film industry as a whole follow similarly.

“I think Marvel has had a major impact on the film industry as a whole. It has changed the way we tell superhero movies overall.

I think one of the biggest things Marvel does that is so impressive, is the way they tie all the stories and characters together. Everything is so interwoven to the greater storyline of the comics, it’s a beautiful thing to see,” Racine said.

more positive overall opinion about Marvel, more than a neutral feeling as Snider and Kung. She thinks Marvel is a huge leader in superhero films and is a role model for the rest of the film industry.

Marvel being such a big name in the world today has given the film industry a hard-hitting bang. From all the hard-core fans it has earned to the franchise it has created.

The many things Marvel has done for the film industry, good or bad, earn it the title of the ‘Marvel Effect’.

Racine has a

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MostI n dExpensive ian movies Learn about the budgets of these Indian Movies By: Ashwath Menon

Key:

1 crore = 153,192.60 USD

1

Disclaimer: This list was made before March 2022 and might not be up to date at current time.

2.0 (2018) Action, Sci-Fi, Thriller Budget: 350 cr

2

Saaho

(2019) Action, Thriller

3

Budget: 275 cr

Bahubali 2: The Conclusion (2017) Action, Drama

Budget: 250 cr Thugs of Hindostan

(2018) Action, Adventure

Budget: 235 cr

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4

5

83 (2021) Biography, Drama, History Budget: 225 cr

6

Zero

(2018) Comedy, Drama, Romance

7

Budget: 195 cr

Sye Raa Narasimha Reddy (2019) Action, Adventure, Drama

Budget: 190 cr

8

Bahubali 1: The Beginning

(2015) Action, Drama

9

Budget: 180 cr Padmaavat

(2018) Drama, History, Romance

Budget: 175 cr

10

WAR

(2019) Action, Adventure, Thriller

Budget: 175 cr

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The

TV

Death broadcast of

By: Null Berg

Cable was the first to fall to the current reign of streaming services, but broadcast television is in limbo, teetering on the edge of mainstream viewership and obscurity.

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he background hum of the warm LCD screen is the only noise to be heard other than the tinny sound pouring from the speakers. You’re watching the conclusion, you and millions of other viewers all across the world hanging onto the edge of your seats. Your minds and hearts are ensnared by the weekly storytelling that has been running for what seems like forever. The credits roll, the screen cuts to a commercial and it’s over. And you are ready to talk about it with any and all who will listen the next day, because what else would anyone be watching?

Nowadays people could be watching literally anything else, on whatever streaming service they bought that week.

Cable and broadcast TV being dethroned by streaming has sent shockwaves throughout the world from viewers at home to sports producers.

“The old standards of what made it show a hit no longer exists. nobody is getting those [big] numbers, and they’re okay with that. HBO, for example, you’ve got to pay them and they are paying to create their own shows.

They’re not relying on any ads.

So if they can cover their own budgets, they’re okay. In the race to carve out their own spaces, Netflix, Apple, Amazon, [and] HBO, [are] all trying a variety of different things. And there’s good stuff on all those platforms. It’s exciting because they can be more challenging and interesting, as a consequence,” Mike DeNoma,

T

Broken TV sinking in a muddy lake.

Photo coutesy of Tek-Bull.

general television expert, said.

There is no longer a large part of the country watching the same thing when it airs anymore, large award shows like the Grammys or Oscars, even sporting events such as the Superbowl have dwindling viewership numbers.

“The advantage of only having four options was that many people you know watched what you had watched and it gave a common experience to people,” DeNoma said. “The disadvantage of that is it was a limited range of voices.

There were only so many slots, only so many people were having shows, and only so many voices can be heard.

So it wasn’t very diverse. The advantage now is that there is a great diversity of voices from all over the place, and it’s wonderful to hear different voices. But you are not getting those communal, common experiences, for people are all over the place.”

The change in how we consume television has also greatly changed what currently is being produced, which in turn has led to a huge overhaul in the advertising strategies that networks use.

Rich Silverman, an Advertising Strategy Director for MOCEAN, a large movie and TV advertising company was interviewed for his opinions on the changing TV landscape.

“They still make [content for larger audiences], what they call four-quadrant content,” Silverman said. “Four quadrant means that there are four audience demos, young and old,

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men and women basically. For instance, Lord of the Rings on Amazon, that’s going to be a new series that’s a broad, big four-quadrant piece of programming it’s supposed to be intended basically for everybody. So [four-quadrant programming] is still being made. But we’re seeing more and more niche pieces of content because a tremendous amount of pipelines and distribution centers need to be filled.”

Media consumption has become more scattered as time continues because people have more and more options available to them. Meaning that it’s only logical that advertisers have to mirror that trend in the promotional material that they are producing for their media.

“Advertising has gotten really granular,” Silverman said. “[It’s] because there’s [so many] different audiences. So when I do social media, I see different audiences on all those different platforms. The people who, generally speaking, go to Twitter are not the people who are using TikTok, and the people using TikTok are not on Facebook. But we’re trying to promote the same series, your same movie on all these different platforms. We need to adjust the types of advertising content that we make, to make it work on each individual platform that’s targeted to a different audience.”

The growing accessibility to media has also changed how much the younger generations value it. There is no longer a wait to watch something

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unless you’re waiting for it to be produced. You can binge an entire season of most shows as soon as it comes out, waiting has been largely eliminated from television for kids.

“When I was a kid. Saturday morning was so special, you had to get up early, and you had to set aside time to make an appointment [to watch Saturday morning cartoons].

It was something that you really look forward to all week long, and it made it more valuable,” Silverman said.“For me personally, and I’m sure it’s the same for your parents too, they have very fond memories of Saturday morning cartoons.

Now, cartoons for kids, are just so accessible. It’s so easy.

You just turn on your phone and put on YouTube or Netflix or whatever it is, and [then] it’s there. because [of that] I just don’t think the content creates the same emotional connections [with the kids]. It feels more disposable, it makes

it less special.”

DeNoma offered a more unique take on that lack of traditional Saturday morning cartoons. A lot of the time people from his generation remember television through an idealized lens, which makes it seem like it was more important to them than it was when they were a kid. You only truly realize the value of something when it’s removed.

“Yes, [kids] are missing out.

But no, it wasn’t that great of an experience,” DeNoma said.

“I watched junk on Saturday mornings. My son is five.

And whether it’s StoryBots explaining to him how the world works in a way he can understand, or Word-World that’s helping him with his pronunciation of different vowel and consonant sounds. It’s not confined to one time, and it’s better. I could probably talk about Looney Tunes, and all sorts of things that were on Saturday mornings

Behind the scenes of the first sporting event broadcasted live.

Photo Courtesy of the Hulton Archive

Children watching TV. Photo coutresy of Womens Day

for hours, but it wasn’t quality, and so there’s more quality, and you can have it whenever you want, it’s all an improvement.”

Like most changes, the evolving TV landscape has both positive and negative parts to it, but through all of the change, one thing has always been seemingly stagnant to the average consumer: sports broadcasting.

Danny Salomon, a play-byplay announcer, and producer believes that live sports broadcasting is going nowhere, even though there have been some unseen changes throughout the industry, such as a shift to broadcasting through services that are not aired on television such as ESPN. “When you’re talking about live production, specifically sports

production, there’s always going to be games to an extent,” Salomon said. “Even more so now you got ESPN+, ESPN Ojo, ESPN 3, there are so many things being broadcast now that it’s insane. I saw the other day they were broadcasting frisbee, golf, cornhole, and all those other things. Camera people are standing behind that tripod, monitoring that camera.

Audio people are monitoring the audio, there’s a technical director [telling] which camera to take, there are at least 10 jobs being made there, at the very minimum at the smallest broadcast at the stupidest thing you could possibly imagine being broadcast.”

While TV shows may stop being broadcasted, sports will always be something that people want

to watch in real-time. In a way, sports are the main thing keeping broadcasting afloat in its current state, because unlike TV shows they aren’t allowed to jump ship completely to streaming.

Sports events lose their luster if they aren’t being watched as they happen or shortly after. So unlike most television shows, sports games will never be able to be broadcasted live, even if the broadcast isn’t being broadcasted on television channels.

“Because of the the changes to broadcast television, there are not many things that can capture the entire nation at once [anymore], and sports is one of those things. I don’t think that it’s going anywhere anytime soon”

The Kinetograph - 29

A guide to find the editing software that’s the right fit for you.

EDITING SOFTWARES

Accessibility:

Overall Rating:

Current Price:

Final Cut Pro

Pros: -User Friendly main layout that makes switching windows unesecary.

-Easy to learn for beginners -Works great on apple products Cons: -Not compatible with adobe suite -Very little export options, difficult to compress video -Difficult to add text Accessibility:

Overall Rating:

Current Price:

By: Null Berg

30 - The Kinetograph

$299.99

$299.99

Pros: -Fast and easy rendering -Affordable -Frequent updates from developer -Ideal for beginnners -Easy to learn Cons: -Difficult to remember UI -Terrible customer serivce team -Prone to Crashing -Cannot produce 1080p videos

Power Director X

Accessibility:

Overall Rating:

Current Price:

Pros: -Works seamlessly with any other adobe softwares -A plethora of accessesible tutourials avalible -Industry standard for editing softwares Cons: -Expensive -Not beginner friendly

Accessibility:

Overall Rating:

Current Price:

$20.99

Pros: -Great first program for beginnners -Simple and intuitive UI -Free -Great basic features -Great quality for price

Cons: -Only has most basic features -Little to no updates -Not very accessible for non IOS users -Limited capabilities

Imovie

Information by: TrustRadius

Adobe Premire Pro

FREE

Per Month

The Kinetograph - 31

Behind Scenes the

Gael Garza working hard to complete the cover.

The cover is always the most important part of a magazine, and Gael’s hard work produced an amazing result.

Null Berg editing photos and finishing some designs.

Photo quality is an important aspect to Magazine design, and Null’s expertise in deciding which photos are acceptable and which are not comes in incredibly valuable when completing a Magazine.

32 - The Kinetograph

Atley Carman writing his Feature Story.

Feature Stories are fascinating to read and keep readers engaged throughout the magazine, and are effective in conveying messages in entertaining ways.

Ashwath Menon editing his ASF.

ASFs can give readers a better understanding of a topic in creative and easy to understand ways, making them essential for magazines. ASFs can be comparisons, flow charts, rankings, information, and more!

The Kinetograph - 33