Words matter. These are the best Freddie Wong Quotes, and they’re great for sharing with your friends.
A vlog look is a very specific look, and it’s basically a phone look.
It’s hard to sell merchandise off YouTube.
A better quality of video is better for everyone.
We believe that the future for content-creators such as ourselves lies in being able to source project money from an audience and deliver on those projects in a timely and cost-effective manner.
We are video consumers first and foremost, and we hate anything appearing in the videos that isn’t organic.
As you reach more people, there is a potential to make a living with what you are creating, and that’s the goal.
Great visual effects serve story and character and in doing so, are, by their very definition, invisible.
Defying genre conventions is instantly a risky move.
Venture capitalists don’t pay attention to you unless you have an app or a widget.
We have an audience, the ability to fund our own projects, own our own projects, the ability to display our projects unencumbered by any middlemen. That’s the perfect scenario.
Straight-up digital delivery will be the way the future works.
At the end of the day, we still make the things that we make. And we found that the best strategy in this very fluid marketplace is to not be tied into any given platform, but to be able to make good content, and good content will be able to live anywhere.
We’ve always wanted to control the video player for our videos. We really want to evolve how comments on videos work.
Non-studio entities can experiment with storytelling that might be too niche… for a studio.
The Lionsgate deal came at an opportune time. It allows us to get our projects financed and create long-form content without needing to be reliant on brand deals or crowdsourcing for external financing.
Hulu understood how much content costs. By remaining defensive, YouTube is losing various aspects of video – long-form, for example – to other companies.
Drift racing is expensive.
When we started doing YouTube, the goal was, hey, let’s make stuff that we want to see, that entertains us.
If it doesn’t feel organic to the audience, you gotta trust your gut.
From a creative perspective, we’ve been very fortunate in that doing it the ‘VGHS’ way gave us unlimited freedom. Whatever we wanted to do, however we wanted to do it, we had that.
Film gives us the luxury of deciding where the viewpoint of the audience is, and by knowing that, we can very effectively design around what is actually seen on camera.
We don’t believe in competition.
Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker’s tool belt to tell a story, but when the end result is bad – maybe it’s not the tool’s fault.
We were looking for representation that was creatively and commercially in synch with our core DNA. The team at WME understands where we’re going, and we’re looking forward to taking our company to the next level with them by our side.
YouTube’s a funny place because so many creators fall into their aesthetics out of necessity and the visuals are driven out of an urge to create. You get a lot of interesting examples of interesting design choices that have roots in practicality as well as an artistic sentiment.
Hollywood is just a bunch of middlemen, people trying to facilitate content transfer between creators and viewers.
A user who essentially costs YouTube money has very little say. The way to have a say is to concretely support the creators and channels you watch directly by giving them money.
We are not frou-frou creative types. We have done both sides of the business and are constantly asking ourselves, ‘How are we going to pay for this?’ But the criteria is that it must fit with our world.
Online is another way for all of us to reach people.
The Asian male has an interesting history as far as Western appropriation. At one point, we were completely sexless Chinamen building the railroads. Then, World War II came around, and it was like, Asian guys are coming after the white women. We became a menace for a second.
We take a lot of pictures with fans, and when they walk away, their parents say, ‘Who was that?’
Gamer humor ranges all over the place. What it comes down to is taking a lot of what we see in gaming and we’re familiar with in gaming and being like, ‘OK, hold on, let’s re-examine this for a second. Isn’t this funny? Isn’t this strange? Isn’t this a little bit ridiculous?’ That’s where it is.
If you can’t answer the question ‘What is VR adding to that experience?’ – and it should be more than just a gee-whiz thing – then that project shouldn’t be in VR. You’re not taking full advantage of your medium.
I think if you make good, interesting content with compelling story lines and good characters, people will tune into the web for as long as you want them to.
Kickstarter has shifted from funding creative projects to funding products and videogames; the biggest funded are consumer electronics and video game projects.
Deep engagement is much more powerful and valuable than fleeting mass market engagement.
You have to figure out some way of making money without relying on video ads or people paying to download.
When we started out doing YouTube videos, I think we were very, very early on in terms of people doing a behind-the-scenes component.
YouTube is the place where people go to consume advertisements willingly. It’s some capitalist dystopian nightmare.
Video content yearns to be free.
I don’t think a lot of people really know what goes into something that they see.
On the advertising side, view count is not the most important thing. It’s engagement.
We founded RocketJump for two reasons: to provide quality entertainment and to reach as many different audiences as possible.
I think some people have a vague idea, but the general public has no clue what the actual behind-the-scenes of filmmaking is and what this profession is.
I don’t think any reasonable person would object to you, as the advertiser, having say in who and what you want to pair your ad with.
