The World is Flat - Friedman Thomas - Страница 19

Just to summarize again: The PC-Windows flattening phase was about me interacting with my computer and me interacting with my own limited network inside my own company. Then came along this Internet-e-mail-browser phase, and it flattened the earth a little bit more. It was about me and my computer interacting with anyone anywhere on any machine, which is what e-mail is all about, and me and my computer interacting with anybody's Web site on the Internet, which is what browsing is all about. In short, the PC-Windows phase begat the Netscape browsing-e-mail phase and the two together enabled more people to communicate and interact with more other people anywhere on the planet than ever before.

But the fun was just beginning. This phase was just the foundation for the next step in flattening the flat world.

I met Scott Hyten, the CEO of Wild Brain, a cutting-edge animation studio in San Francisco that produces films and cartoons for Disney and other major studios, at a meeting in Silicon Valley in the winter of 2004.1 had been invited by John Doerr, the venture capitalist, to test out the ideas in this book to a few of the companies that he was backing. Hyten and I really hit it off, maybe because after hearing my arguments he wrote me an e-mail that said, “I am sure in Magellan's time there were plenty of theologians, geographers, and pundits who wanted to make the world flat again. I know the world is flat, and thank you for your support.” A man after my own heart.

When I asked him to elaborate, Hyten sketched out for me how animated films are produced today through a global supply chain. I understood immediately why he too had concluded that the world is flat. “At Wild Brain,” he said, “we make something out of nothing. We learn how to take advantage of the flat world. We are not fighting it. We are taking advantage of it.”

Hyten invited me to come and watch them produce a cartoon segment to really appreciate how flat the world is, which I did. The series they were working on when I showed up was for the Disney Channel and called Higglytown Heroes. It was inspired by all the ordinary people who rose to the challenge of 9/11. Higglytown “is the typical 1950s small town,” said Hyten. “It is Pleasantville. And we are exporting the production of this American small town around the world-literally and figuratively. The foundation of the story is that every person, all the ordinary people living their lives, are the heroes in this small town-from the schoolteacher to the pizza delivery man.”

This all-American show is being produced by an all-world supply chain. “The recording session,” explained Hyten, “is located near the artist, usually in New York or L.A., the design and direction is done in San Francisco, the writers network in from their homes (Florida, London, New York, Chicago, LA, and San Francisco), and the animation of the characters is done in Bangalore with edits from San Francisco. For this show we have eight teams in Bangalore working in parallel with eight different writers. This efficiency has allowed us to contract with fifty 'stars' for the twenty-six episodes. These interactive recording/writing/ animation sessions allow us to record an artist for an entire show in less than half a day, including unlimited takes and rewrites. We record two actors per week. For example, last week we recorded Anne Heche and Smokey Robinson. Technically, we do this over the Internet. We have a VPN [virtual private network] configured on computers in our offices and on what we call writers' 'footballs,' or special laptop computers that can connect over any cat-5 Ethernet connection or wireless broadband connection in the 'field.' This VPN allows us to share the feed from the microphone, images from the session, the real-time script, and all the animation designs amongst all the locations with a simple log-in. Therefore, one way for you to observe is for us to ship you a football. You connect at home, the office, most hotel rooms, or go down to your local Starbucks [which has wireless broadband Internet access], log on, put on a pair of Bose noise-reduction headphones, and listen, watch, read, and comment. 'Sharon, can you sell that line a little more?' Then, over the eleven-week production schedule for the show, you can log in twenty-four hours a day and check the progress of the production as it follows the sun around the world. Technically, you need the 'football' only for the session. You can use your regular laptop to follow the 'dailies' and 'edits' over the production cycle.”

I needed to see Wild Brain firsthand, because it is a graphic example of the next layer of innovation, and the next flattener, that broadly followed on the Berlin Wall-Windows and Netscape phases. I call this the “work flow phase.” When the walls went down, and the PC, Windows, and Netscape browser enabled people to connect with other people as never before, it did not take long before all these people who were connecting wanted to do more than just browse and send e-mail, instant messages, pictures, and music over this Internet platform. They wanted to shape things, design things, create things, sell things, buy things, keep track of inventories, do somebody else's taxes, and read somebody else's X-rays from half a world away. And they wanted to be able to do any of these things from anywhere to anywhere and from any computer to any computer-seamlessly. The wall-Windows-Netscape phases paved the way for that by standardizing the ways words, music, pictures, and data would be digitized and transported on the Internet-so e-mail and browsing became a very rich experience.

But for all of us to go to the next stage, to get more out of the Internet, the flattening process had to go another notch. We needed two things. We needed programmers to come along and write new applications– new software-that would enable us really to get the maximum from our computers as we worked with these digitized data, words, music, and pictures and shaped them into products. We also needed more magic pipes, more transmissions protocols, that would ensure that everyone's software applications could connect with everyone else's software applications. In short, we had to go from an Internet that just connected people to people, and people to their own applications, to an Internet that could connect any of my software programs to any of your software programs. Only then could we really work together.

Think of it this way: In the beginning, work flow consisted of your sales department taking an order on paper, walking it over to your shipping department, which shipped the product, and then someone from shipping walking over to billing with a piece of paper and instructing them to churn out an invoice to the customer. As a result of the Berlin Wall-Windows-Netscape phases, work flow took a huge leap forward. Now your sales department could electronically take that order, e-mail it to the shipping department within your own company, and then have the shipping department send out the product to the customer and automatically spit out a bill at the same time. The fact that all the departments within your company were seamlessly interoperable and that work could flow between them was a great boost to productivity-but this could happen only if all your company's departments were using the same software and hardware systems. More often than not, back in the 1980s and early 1990s, a company's sales department was running Microsoft and the inventory department was running Novell, and they could not communicate with each other. So work did not flow as easily as it should.

We often forget that the software industry started out like a bad fire department. Imagine a city where every neighborhood had a different interface for connecting the fire hose to the hydrant. Everything was fine as long as your neighborhood fire department could handle your fire. But when a fire became too big, and the fire engines from the next neighborhood had to be called in, they were useless because they could not connect their hoses to your hydrants.