Having been a tabloid-sized publication since 1960, our first issue of 2013 introduces a more digital-friendly format conducive for reading online and on mobile platforms. In the early years SHOOT was literally a “news”paper printed on newsprint. As SHOOTonline came on the scene in the mid-’90s, followed by The SHOOT>e.dition email newsletter in ’05 and then RSS feeds, Facebook and Twitter, SHOOT went from printing weekly to reporting on news and new work all the time. With each print issue, we publish two PDF versions for readers to view/download–a “lite” version is an exact duplicate of the print issue, and the “full” version contains video of work covered in the issue.
Continuing to evolve along with the industry segments it covers, SHOOT has chronicled that evolution over the decades, providing historical context and a wide range of perspectives, showing where the industry has been in order to get a better handle on where it is and where it’s headed. We’ve covered commercialmaking from its infancy to maturation, from the standardized bid form to new forms of content, from the birth of industry organizations to their indelible and ongoing impact on the business and creative landscape, literally all the ups and downs spanning recessions, landmark court cases, strikes, labor/management relations, major industry issues, global production, lensing incentives, the impact of new technologies, integrated campaign strategies and branding, content across different size screens, the emergence of branded entertainment encompassing varied platforms. While perennially covering the advertising / entertainment crossover dynamic, we’ve evolved to cover entertainment production and post with annual Emmys and Oscar series, coverage of feature film, independent film, documentaries and shorts as well as the film festival circuit and all major award shows.
At the crossroads of advertising and entertainment production & post, SHOOT will continue to show how each sector influences the other, providing coverage of relevant artists, developments and issues that carry implications from talent, technology and business. As the year progresses watch for new features, interviews, profiles and columns as well as fantastic upgrades to SHOOTonline. To keep your subscription coming, be sure to visit www.shootonline.com/go/renew. Subscriptions need to be updated once a year to keep them coming.
We look forward to hearing from you about the great work you’re involved with and we hope you’ll let us know what you want to read about in the print pages of SHOOT and on our website and in our email newsletter. Our annual New Directors Search is on and we look forward to seeing many of you at this year’s SHOOT Directors/Producers Forum & New Directors Showcase at the DGA Theater in NYC on May 23rd. Our mission continues to be to connect readers to the latest news, best new work and each other and we look forward to continuing to do just that this year. We wish you a happy, healthy and successful 2013.
Beyoncé’s Halftime Show Highlighted Netflix’s NFL Debut On Xmas Day
Beyoncé provided more excitement than either game during Netflix's NFL debut on Christmas Day.
Riding into her halftime appearance on a white horse, the 32-time Grammy winner rocked her hometown Houston crowd with a nearly 13-minute performance on Wednesday.
She surprised fans by bringing along Shaboozey to perform "Sweet Honey Buckiin" and Post Malone joined her for "Levii's Jeans."
The action on the field didn't live up to expectations as the NFL showcased four of the AFC's top five teams.
Patrick Mahomes and Travis Kelce exposed a glitch in Pittsburgh's defense during Kansas City's 29-10 rout in the first game.
The broadcast itself went off just fine, quickly becoming the second-most popular live title on Netflix to date, according to NFL Media.
Lamar Jackson and the Ravens led C.J. Stroud and the Texans to 17-2 at halftime before Beyoncé stole the show.
Mariah Carey opened Wednesday's doubleheader with a taped performance of "All I Want for Christmas is You" and then the two-time defending Super Bowl champion Chiefs trounced the Steelers to clinch the No. 1 seed in the AFC.
There were no signs of any major streaming issues during the game after Netflix experienced minor blunders at the start of the pregame show. The broadcast opened with roughly 10 seconds of silence because it appeared studio host Kay Adams' microphone wasn't turned on.
Beyoncé's live performance at NRG Stadium was supposed to be the biggest test for the streaming giant and it seemed to go off without a hitch.
Mahomes threw for 320 yards and three touchdowns and Kelce had eight catches for 84 yards and one score as the Chiefs (15-1) earned a first-round bye and home-field advantage throughout the AFC playoffs. The... Read More