Archive for the ‘media’ Category

It’s the Couch

February 8th, 2011

I used to say that TV as we know it is not going to exist much longer than 10 or 15 years, which I still don’t want to withdraw — simply because it’s a long time span in which a lot will happen. What I want to focus on instead is why it’s not happening earlier. It’s because of the couch. Yes, you heard me alright, the couch — and what goes with it.

The couch defines the place you live in as your home. Bed, bathroom, kitchen — these are things you find anywhere you’re staying. The couch makes all the difference. I just realized the other day that the last place I was living in didn’t feel like home — because I never bought a couch. Other associations with the couch are family, togetherness, all deeply rooted within us, and it’s a perfect symbol for comfort, relaxation, and hedonism.

And if you’re not living in a place where you have a marvelous vista from your living-room, I guess opposite to your couch there’s a TV set. The window to the world. Not only one world, but hundreds of worlds. All of them right in front of you in your zone of maximum comfort, and if you don’t like one, -zap!- there’s another. This is a very different experience from browsing YouTube, even if it’s on your TV set, because the former is not only a programme scheme designed by professionals (which you would have to create yourself on the Web), it also conveys a lot less responsibility in terms of what you are watching, because it’s pure consumption (or not). When you’re the programme director, you have a lot more responsibility for how happy you are with what’s on the screen, because first you have to decide what should be running, and only then you’re back in your consumer role to decide whether you like it or not. That’s a lot more stress to deal with, and we, being lazy humans, don’t favour that.

That said, the audience dynamics on the Web are entirely different from those towards TV. A successful programme like the German version of “Ramsay’s Kitchen Nightmares” would in my opinion falter on the Web because I think you just can’t build an equally loyal fan base, aside from the fact that financing the show to be broadcast Web-only is close to impossible. But what Christian Rach, the German Gordon Ramsay, could do, is to have a video series of cooking tips on a website, with sponsored links to markets where you could pre-order and pick up your ingredients, or, to keep it low-tech, just see if they’re in stock. And a bazillion of other ways to monetize his popularity, aside from the obvious books  (of which he has published three). But the TV format as it is would not translate to the Web.

As long as TV is more about the overall experience than what’s on the screen (the same transition cinema has gone through several years ago), it’s not going away anytime soon. Ever bigger screens, 3D display any other gadgetry support this even further, so the battle (if there is one) will be decided elsewhere.

Something For Nothing

February 4th, 2011

Picture this: A financially strong company builds a mall including all the infrastructure making it a super-hip (yet slightly expensive) place everybody loves. And no surprise everybody who used to have a shop with slowly declining revenue downtown craves the bonanza. And they understand they don’t get mining rights for free. We understand when we sell something on someone else’s premises they expect a share of one kind or another.

It’s also the way advertising works. Whoever wants to place an ad somewhere has to pay the owner of the channel because, well, he’s the owner. It’s ironic that people who used to own the channel, i.e. print publishers, don’t understand that when putting their channel inside another channel, i.e. the iPad, the owner of the latter won’t give it to them just like that.

Sometimes you eat the pear, and sometimes, well, it eats you. (huh?)

Protection Won’t Save You For Good

January 29th, 2011

When Amazon released its numbers for the last quarter of 2010 last week, it was a small surprise for me that in the US e-books are already ourselling paperback books, after they have already done that with hardcovers last summer.

In the country considered the origin of press printing it’s easy to forget that the book market is not a free one in terms of pricing. Every vendor of new books is bound to the price the publisher sets, and this applies to e-books as well, there’s just a little catch: Print books are being sold with a VAT of 7%, whereas e-books have the regular VAT of 19%, making them even more expensive than their physical cousins. Not only has this regulated protection served the publishers, it’s also the reason Ye Olde Bookstore hasn’t yet had to surrender to discount retailers.

If you’ve being living in the real world for the last decade, it won’t be too hard for you to guess that this model is not set up to endure the future we’re heading to. What we have learned from the desastrous decline of the coal and steel industry in the last century is that a country can’t protect its perceived vital industries for good, because sooner or later global competition will have taken over, and you’re an anachronism, far behind the pack.

What not only Germany’s politicians and leaders of protected industries (let’s coin the term LOPIs now) need to understand:

  • trying to protect anything from competition does more harm than help in the long run
  • the business of physical products is steadily decreasing, at least in consumer markets
  • you need the courage to sacrifice your sacred cow in favour of a new not-yet-beyond-risk one or you’re going down
  • what’s more important: you need to have people you can encourage to come up with fresh ideas that take your business to the future, even better if they do it by themselves.

When Adding Momentum

January 24th, 2011

In one of the early Spiderman comics it says “ With great power there must also come — great responsibility!” (and further reading on the quote can be found here, it’s quite interesting). It also applies when power is little. And often enough, responsibility doesn’t scale down proportionally.

The issue I’m talking about: Last week, a show host of German radio station Fritz (located in Berlin) published an Open Letter to Kristina Schröder, German Minister for Family, Senior Citizens, Women and Youth (or as I used to refer to it, DEBYM), in which she heavily attacked the minister who had tried to sympathize with young families because she’s pregnant now. Voilà, promotion — Twitter took it to the next level. And then Fritz’s program director stepped in and took the page offline, accompanied by a statement that “the Open Letter did not represent the opinion of Fritz’s editorial team … [and they would] not accept infringements of Personal Rights.”

And that’s how the fight started. What the program director did wasn’t the best he could (and should) have done. The appropriate thing to do here is to make your employee see sense and ask her to publicly apologize for the inappropriate remarks. That way he would have avoided the accusations of censorship that are now being raised by the audience who have already taken care of the issue themselves.

The problem is that the Web makes it easy to let things run out of control. Once an information has been published, it’s being cached, copied, multiplied in all sorts of ways, and whenever it’s done manually, the ones in charge don’t necessarily pay attention to what they’re doing. Issues like this are easy to pull out of frame, because the outraged public doesn’t necessarily understand that just because you feel a certain way, it’s not okay from a moral point of view, neither from a legal one, to insult a person in whatever medium. That’s why the page was taken offline, but it’s not what the public thought the reason was. The story of some politician trying to undermine Freedom of Speech spreads much better, and so does support by people who think that censorship must be fought against with all means available. The only problem is that whoever re-publishes the original article without additional comments, just to add momentum for a perceived good cause, becomes liable for the same reasons that Fritz would have become liable had they not taken the page down, and this is what most people don’t know.

Which again leads us back to media competence, and why this would make an excellent case study for social science lessons at school. It’s a multidimensional issue, covering social dynamics, media dynamics, public law and, last not least, communication. This is something not only the next generation better knew, but it’s also the most sensible place to discuss the topic outside of Fritz’s commentary section, in the real world, because that’s where having the discussion can really have an impact and make a difference.

Fooled by the Status Quo

January 18th, 2011

It’s always amazing how one’s imagination is being fooled by the status quo though the own memory should tell otherwise. When Wikipedia celebrated thier 10-year anniversary three days ago, I was thinking back when I actually started using it. In 2001 I didn’t — and it’s worth noting it’s the same year I started using that new search engine called Google. It occured to me that when writing my diploma thesis on analogue audio compressor circuitry design and implementation in 2002, finding mere bits of information was actually work that was not too far from the days when you had to go to the library and skim through boxes of index cards. The whole thing just went off well because a fellow student was writing his thesis on EQ design so we could update each other about our latest findings.

Just a few years later, maybe in early 2005, I was using Wikipedia to pull together a script for my students’ electronics lecture, just as an expanded appendix for all the stuff I couldn’t cover in detail because the lecture was quite dense already. Only 4 years after its birth, Wikipedia had become the go-to resource for every geek topic, not to mention the thousands of other sites that had spawned up on stuff like audio circuitry. But what was funny back then is that most of them still referenced the same sources that we had to dig out years before.

Today, more or less everybody is online, be it as a consumer or content creator, but you better not assume that the absolute number of “web literates” has increased proportionally. In this is becoming a problem, because at some point, we’re passing it on to the next generation. According to an interview with two media experts published in the German magazine “Der Spiegel”, there is a shocking deficiency in media competence among teachers, and as they point out, it is the responsibility of schools to educate the kids in the why and how of media, because it’s the only place where all of these kids go — and you don’t know how well-informed their parents are in terms of Web and so forth.

The real problem is of course not media but responsibility, and it’s hard to teach responsibility because it’s rather something you learn. The digital era has a massive downside compared to the glory days before it: As Google put it, the Web doesn’t forget. People do. If you broke a window, it’d be a shock at first, you’d get punished, and some years later you’d have a funny story to tell. I don’t want to spread paranoia here, but in absence of a better excuse a digital record of you having smashed a window in your child days might serve as an unspoken reason why you’re not getting a job. So it may well mean the chance of anyone getting a second chance (to do better) will go down, just because you’re the one who, as is anybody on one subject or the other. The Web is no good place to start when you haven’t learned the analogue model. The only advantage we have today is that we still have analogue models, because there a only few web services that don’t have a real world counterpart.

On the other hand, it’s hard to draw a line in terms of when available information is to be used fairly. When a government can use information published on WikiLeaks to prosecute tax evaders — no matter if this information was obtained legally or not, it’s available now, and it’s hard to argument that one shouldn’t use it to enforce the law — it seems unfit to force an employer to not consider dubious information they got about their job candidates. It’s again a question of responsibility. And as we know, when faced with the opportunity, most people will prefer to get rid of it instead of taking some more, something they learned along the way too. Everything scales, you just need enough iterations to make a small difference to yield a large result. It actually works both ways. That’s why Wikipedia won.

Coin-age

January 17th, 2011

The number varies, but there are at least 5 new words “invented” each day in English alone. And I concur that in cases where we have a whole new thing going on that can’t be described any other way that’s fine. But I do start getting trouble when the new term is being coined for no other reason than the desire to coin a term, to tag whatever you think should be tagged without thinking about if it’s really appropriate.

Some years ago, this was something reserved for scientists and copywriters, but since everyone has their own funnel to yell at the world it’s become a nuisance, especially when some of these words, e.g. neoliberalism, are catalogued in encyclopedia or the all-popular Wikipedia, and suddenly people start showing up saying “no, that’s not how I meant it when I was using it”. Worse when they claim to have “invented” it, and then the hassle begins.

Instead, it might be better to remove the ambiguity first and then start yelling.

Tapeless Workflow in Final Cut Pro 6

December 21st, 2010

Time again for a technical topic. Shane Ross has released two excellent video tutorials for tapeless workflow in Final Cut Pro 7 on Creative Cow (Link 1, Link 2), and since I had to work on a all-digital-file-only project lately, I wanted to share some of the issues I ran into when using Final Cut Pro 6.0.6 and how I adressed them.

On the HD I got from the 3D studio there were all different types of files. Uncompressed .mov, H.264 Quicktime and several .tga, .png, .jpg sequences, most of them 1920×1080, some 1280×720. The final master was to be delivered in 1280×720, which meant converting would be inevitable at some point during the process.

Create reference movies

I decided to convert at the very beginning because editing full-res HD image sequences is a real hassle. To have the computer do the conversion over night I used Quick Time Player 7 to create a reference file for each image sequence. To do this, choose “File → Open Image Sequence…” or press Cmd-Shift-O. Then select the first file of the image sequence and hit OK. A dialogue box pops up where you have to select the proper frame rate. It may take a while till all frames are loaded. Then click “File → Save as…” or press Cmd-Shift-S to save out a reference movie. Select the radio button “make reference movie” at the bottom of the dialogue and save your file with a proper name. Repeat this for all of your image sequences.

Convert with Compressor

When this was done, I launched Compressor and created a preset for my target media, for which I chose the ProRes 422 HQ codec with a frame size of 1280×720, no fields, no audio. Then I imported all of the QT reference movies I created before as well as the H.264 and uncompressed QT files, applied the preset to all of them, set the destination they were to render to (external HD), launched the queue and went to sleep.

Converting using Final Cut

Should you—for some inexplicable reason—not have Quicktime 7 on your computer, you’re having a little more work. Launch FCP, go to “Final Cut Pro → User Preferences” (or press Option-Q… Option is the key that says “alt”), select the “Editing” tab, and set the “Still/Freeze Duration” to 1 frame. But before you import the files, read the IMPORTANT! note below, because you also have to adjust the “Imported Still/RGB Video Gamma” to 2.20. Then drag your image sequence folders to Final Cut’s Browser window, go through them one by one, selecting all of the files of each image sequence and drag them into a new sequence. It makes sense to set up ypur default sequence to the specs you want your output files to be, so in my case this would have been 1280×720 pixels, square PAR, 25 fps, ProRes 422 (HQ) codec, no audio. Otherwise you have to adjust your settings each time when exporting. Then export each sequencs by going to “File → Export → Using Compressor…” and from here it’s the same route as above. Or you can export them manually by choosing “File → Export → QuickTime Movie…” if you don’t need any sleep.

IMPORTANT: GAMMA SETTINGS IN FINAL CUT PRO 6

I don’t want to go too much into detail here, but it is vital to pay attention to FCP’s Gamma settings. I ran into this problem when taking the locked edit to Color, adjusting the image there, rendering the files and taking them back into Final Cut — the colors looked all different. So I exported a SMPTE bar image from Final Cut to Color and realized there is a color shift, but it did not happen when I opened the Color renders in QuickTime Player. Then I figured it had to be Final Cut’s Gamma Settings and when switching to 2.20, everything was okay. So make sure your Gamma Settings are correct, go to “Final Cut Pro → User Preferences” (or press Option-Q), select the “Editing” tab and set the “Imported Still/RGB Video Gamma” to 2.20 (see image). You’re running into all sorts of trouble when you’re on “source”.

Next step: Offline Edit.

With ProRes it’s not really necessary to edit offline, especially because the ProRes Proxy codec is only available from FCP 7 on, but you may want to go for smaller files nevertheless to edit when you’re on the road or whatever. So import your video files to Final Cut, select them all and either right-click or Ctrl-click in the Browser window and choose “Media Manager…” or go to “File → Media Manager…” to launch…the Media Manager! To create proxies (smaller files with reduced quality), choose the “Recompress” option and select the codec of your choice. Adjust all other settings as displayed in the second image. Select a folder where the proxies will be stored (“Media Destination”) and hit OK. In the popup dialogue name the offline project and confirm once more, and then Final Cut will generate the proxies.

Now here’s a caveat: In his tutorial, Shane Ross is using Final Cut 7 which does everything properly. In Final Cut 6 however, I realized that some files are being renamed and Final Cut appends a “-v” to the file names. I don’t know how this is happening or why (nor seems anyone else), but here’s the thing you need to do to work on without relinking issues. In your offline project, select all of your video files and right-click or Ctrl-click in the Browser window to select “Rename → File to match Clip” (see third image). This will rename all the files according to the clip names in one fell swoop. Otherwise the easy workflow that Shane is using in his Offline/Online Tutorial won’t work because the file names don’t match.

Going Online again

So what Shane does is to use two external hard disk drives, one has the Online Media and the other holds the Offline Media. When your edit is locked, you selct your sequence in the Final Cut Browser window, open the Media Manager and select the “Create offline” option from the drop down list, then you set the codec you want to ouptut. Ideally, this is the very same codec you encoded your files with before. Once again, select the folder the Online version of the project will be stored in and give the project a proper name. Close the Offline project to avoid confusion. Next, mount your hard drive with the Online Media. In the Online Project, select all your video files and either right-click or Ctrl-click in the Browser window and choose “Reconnect Media…” or go to “File → Reconnect Media…”, choose “Search…”, navigate to the appropriate folder and hit OK. If everything works out, Final Cut should relink to all Online files now. If not, well, you’ll have to relink the files manually. But you shouldn’t when you followed the steps above.

Finishing

When your sequence matches your Offline edit (hopefully), you can now take the Online version to Color or Motion or whatever you need to do. A few more pieces of advice here:

  • When working with both Motion and Color, bear in mind that you need to render clips from motion back into Final Cut as physical files because Color won’t recognize the “soft link” between the Final Cut edit and the Motion effects that are only rendered in the Final Cut Timeline.
  • Don’t use speed ramps when working with Color, it can’t handle them and will screw everything up. Color can handle clips with a constant speed change, no matter if positive or negative, but when you use speed ramps, you need to render your clip to a file and bring it back into your Final Cut Timeline.
  • Don’t forget about the Gamma issue, especially when you’re grading on a different system than you’ve been editing on.

WikiLeaks is Facebook Inverted (and Time Magazine is stupid)

December 21st, 2010

Time Magazine, as you may have heard or read, made Mark Zuckerberg the person of the year 2010. The reason they chose Zuckerberg over Julian Assange is that they think that Zuckerberg has transformed people’s lives by changing the way they exchange information and create a network with 500,000,000 members — while Assange was just a fad that nobody would care about any more in 6 months time. As always, someone hasn’t done their homework, I reckon.

First, not only is it not Zuckerberg who made Facebook successful, but the every single one of the people who joined and persuaded their friends to join. Other venture firms who (finally, because FB is not the first of its kind) realized the potential of this platform and added value by providing services that made it ever more exciting to be “in”. That said, the reason behind FB’s success is, quite bluntly, peer pressure. And wherever you find peer pressure peaking, you can assume it’s a fad at work.

Second, business models. Let’s compare both.

What WikiLeaks does is take information form ominous closed circles whose motifs we know little about but we believe to manipulate our lives, and spreads it online for the general audience to start offline activity. The premise is that an individual takes a huge risk to obtain the secret information, and she takes massive efforts to avoid any exposure.

Facebook, on the other hand, collects information about peoples’ offline activities and transfers it to ominous closed circles we know little about. The premise is that an individual is looking for an easy way for maximum exposure, not willing to invest too much effort for some hoopla only for herself.

As we know from hundreds of thousands of past examples, the first business model is rarely taking the route to success, whereas the second is unstoppable when it has enough momentum, because there’s obviously little to lose and lots to win. With WikiLeaks, it’s the other way round — unless, if you think about it, everyone were using (i.e., contributing to) it.

To reference my last post, Facebook is not an electric vehicle. It’s a 20th century chassis with a 21st century bodywork. And it keeps on running because segments of certain industries chose to make it so, believing it would give them an upside. Some were right, some were wrong. But the correlation between chances of winning and the number people playing the game is a negative one anywhere, not only online.

How RTL fails and what it means

December 11th, 2010

There is no correlation between audience share and ad revenue. This is a truth Anke Schäferkordt, CEO of RTL Television Germany, admitted she had to face this year, when, albeit RTL will have had the largest audience share in this decade, its ad revenues won’t have increased accordingly. And all they do is start whining, because they don’t have no clue what’s next.

And this is obvious for this whole generation of senior managers in media as of today. They might understand that the correlation between the two is gone, but they don’t know what the reasonable thing to do is. The reasonable thing to do, and, I might add, the only thing to do to stay on top in business, is to start taking risks. When your old business model is faltering and you’re the best at it, you better start getting worse quickly. This concept is hard to understand and embrace for someone who’s been taught the old model for 25 years when it still worked.

But guess what, the world has changed! Not in a disruptive fashion, but (pun intended) bit by bit every day. And now being good at making an appealing TV programme is not good enough anymore. Moving your old programme to new platforms won’t help. Had they done this 2 years back it would have been buzzworthy, today it’s an act of cutting their losses. What’s more, trying to bully your network distribtution partners into not permitting their subscribers fast-forwarding their ad breaks on VoD is no solution either. What you have to do is take risks and start inventing entirely new programmes.

Instead of forcefully trying to get the share of the pie you consider to be fair, make the pie bigger your way and have all the surplus! That’s what your job as a leader is, showing the world where to go next. That’s something to weigh in when your shareholders gather. And if you fail? Well, it won’t do any harm because being the best at the old model didn’t benefit you either (you have proof now!). Sure, you get all the fame for being the market leader, but that’s nothing the CEO’s employers, i.e. the shareholders, care about, because it’s not reflected in their pockets.

The old model used to give you more deniability when you took less risk – henceforth taking risk will be the only thing giving you any deniability. It’s the best that could ever happen, if you think about it.

(Re-)Defining Value

November 12th, 2010

Before expanding on yesterday’s post, I would like to point to some great articles (last link only available in German) and a video related to the topic. What they all agree on is that you can’t transfer the physical business model to the online or digital world. What I want to argue today is that if you take this for granted, you shouldn’t expect the financing works as it used to.

First, advertising. As stated before, advertising in the old media still is a bet. You buy physical space or a timeslot, hoping to attract the eyeballs of those who are reading the article next to your ad or watching the programme around it. You do so because you believe that this will help you to stay on top of the mind of the “consumer”, so she eventually buys your brand instead of the other. This kind of advertising focuses on the Attention-Interest-Desire part, not Demand or Action. Same with a full page ad for your new car model. The odds of someone seeing your ad who actually needs a new car right now are ridiculous. It’s a bet about staying in the game. On the other hand, if a local market advertises for discount tomatoes on Saturday, their chances of selling those tomatoes go way up with this fraction of the readership who are going to the market on Saturday anyway.

How does it work online? Since the invention of banner ads, their price has only ever decreased. Because on the web, the idea of advertising is not only Attention through Desire, but Demand and, most important, Action. The web offers a huge benefit for advertisers: The can measure effectiveness and ROI a lot easier than offline. And that’s what they’ve been doing. So today the problem for content providers is the clickthrough rate of an ad or their page, because it determines price, and thus revenue.

Second, value. Clay Shirky has nailed it pretty well: Online, newspapers (magazines not as much) offer nothing but a commodity. There is too much content, too much other news to compete with, not mentioning the billions of other pages that want our attention at least as much. And the user will not see a point ever in paying for an abundant resource. What makes it even worse is already said in its name: current affairs. Here today, gone tomorrow. The whole situation is paradoxical: To ensure the level of quality a paper wants to maintain, it needs to run a network of correspondents, distributed over the country or even the world, that’s why we see dozens of microphones and handheld recorders popping up once an MP comes out of parliament. But we as the users are not satisfied with reporters only parroting press releases. What we want is background information, an analysis how this fits into the big picture, not a filtered story merely tweaked to make a title page to cause public outrage.

What publishers are trying to sell us on today is that their value is the guarantee of free (i.e., independent) information because of its network. Which is not true. A publisher’s major asset is the level of control he has (or used to have) because he owns the physical printing press, allowing him to reach more people more efficiently and simultaneously than a real person could. Who controls the most channels has the most power, just like in every other industry, and as a result he can charge the most money from advertisers or put pressure on politicians or other organizations. After all, it is hard to monetize an abstract concept like freedom, but on the other hand, the history of monetizing control is even older than money itself. Now, empowered by the web, everyone has a printing press. And everyone is using it.

Especially the print press used to be nebulous organizations which shrouded themselves under the argument of “quality journalism that must be paid for”, and they still do today. But today we expect everything to have its price, and this price’s structure be made transparent. This is what my last post was about. Once it’s clear what the actual price of an article (of whatever quality) is, it’s our privilege as users to decide whether we’re willing to pay for it or not. Value is not the total manufacturing cost, it is a subjective attribute, how much what someone is saying matters to us. This brings us to another component of value: trust. A source I trust has a higher value than the one I don’t trust. The boiling question then becomes if there is a source I trust and it starts charging for its contents, will I switch? What are the readers’ criteria for re-decision?

Third, payment. I had a brief email exchange with Marcel Weiss, a German blog author, yesterday and he said that the 10 cent model was not going to work because the emotional transaction cost is too high and the handling of these small payments itself would almost cost as much. The emotional transaction cost is covered in the value section above, so I can focus on the money here. Clay Shirky also wrote that these small payments have the connotation of being nickeled-and-dimed, which is not a positive one, and users will flee in favour of subscription-based or subsidized offers. Wired’s Chris Anderson currently also believes future financing will comprise subscriptions and advertising in equal amounts. Fine with me, though I tend to believe that this model works more for magazines than newspapers. Magazines have always focused on their readers and how they can delight them, that’s why people subscribe, a regular piece of delight that cares about what they care about.
Marcel also said that there is a high probability that people will only lurk until the article is accessible for free without ever paying. This is completed by Clay’s point that small payments don’t add to the conversation. That’s right. The payment is a bare necessity. People who don’t care enough aren’t going to pay, but I don’t think this can be applied in general. Peer pressure is enough to make people pay. If in the long run a magazine or paper can be financed by subscriptions and ads, and puts content on the web for free but, say, only a basic version, that’s good. But I don’t think we users can expect full media broadside (journalistically neutral, of course) for free (i.e., entirely subsidized by a third party) from any provider.

Fourth, professionalism. It’s not as much about you and your workmates having the same conversation topic in the morning as it is about seriousness and reputation. Everyone can publish today because they have the button on their blog. But that makes them neither a publisher nor a journalist. And we need to acknowledge that a journalist is not a reporter and a reporter is not a journalist, so they must be treated differently. As I wrote above, we users demand more than the press release, therefore we need to treat the crafting of an article as work. Labour. Something the one who does it must be compensated for. On the other hand, the ones writing these articles need to treat their jobs more serious again. Over the past decades, journalism has been going down a road leading to its own demise, on the verge of which it is dwelling now, and that’s why people see ever less reasons to pay for information that’s available in better quality elsewhere for free.

That said, the question really becomes if a journalist needs a publisher. Do musicians need record labels? The history of the past decade has given the answer. There’s no difference whether a journalist wants to sell his article to a publisher or releasing it on his own. If he does the latter, the only thing he needs is a big enough audience, either several hundreds who subscribe for a small fee or several thousands who visit his site and click some ads. Of course it takes longer to build an audience. So this is nothing I would recommend a seasoned (but unknown) journalist to do. It just takes too long. But if you’re young and only starting, that’s the way to go, because then you remain independent.