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A True Home-Theater Experience

Thu, 09 Dec 2010 07:43:46 -0500

A new movie service is proposing to bring Hollywood movies into subscribers homes the same day they hit theaters. The price tag for this ultimate home theater experience? $20,000 for a digital delivery system, plus $500 per film. While this may be at the extreme high end, it does seem to indicate the direction that film distribution is heading - a narrowing of the gap between when a film plays the big screen until it’s available on the small screen via DVD and the internet.

From the Wall Street Journal article “Movies at Home, for $20,000”:

The proposed system represents a twist in an ongoing debate over the future of “release windows,” the practice of staggering the distribution of movies through different channels to maximize profits in each. Traditionally, that has meant a movie hits theaters first, followed several months later by DVDs, video-on-demand, subscription-cable channels, and so on.

The windowing system has already come under pressure amid plummeting DVD sales and rising digital piracy. And consumers have grown accustomed to receiving entertainment content more readily than they used to.

One hot-button issue in that debate has been an early, “premium” video-on-demand window, in which cable subscribers could pay $30 or so to watch a movie a month or two after its debut in theaters.

Studios no longer make as much from DVDs. U.S. consumer spending on DVDs is down about 20% in 2010 from 2009, to $7.8 billion, according to media-tracking firm IHS Screen Digest. DVD spending is down 43% from its 2006 peak of $13.7 billion.

At the same time, consumer spending on video-on-demand services rose 17% in 2010 from 2009, to $1.4 billion, according to IHS.

Netflix Price Increase, Streaming Only Plan

Mon, 22 Nov 2010 14:37:00 -0500

Interesting to note the shift in consumer habits in Netflix as reported in an article in today’s WSJ:

The company, which says its customers now use its Web-streaming service more than its by-mail rentals, will charge $7.99 a month for customers that only want to watch films and TV shows delivered over the Internet.

“We are now primarily a streaming video company delivering a wide selection of TV shows and films over the Internet,” Netflix Chief Executive Reed Hastings said.

Netflix has said the costs of distributing DVDs—-including the roughly $600 million it will pay to the U.S. Postal Service in 2010—can ultimately be diverted into paying for content rights for online streaming.

Read more: http://online.wsj.com/article/SB10001424052748704243904575630441038304032.html#ixzz162bgsklD

It seems like Netflix is following a model similar to premium cable channels: revenue is generated through subscriptions versus ads. But to keep its audience it will need to create a more compelling reason for them to use its services. Watch for more original fare created by Netflix as it moves away from its mail-based business towards online streaming.

TV - Here, There, and Everywhere?

Thu, 07 Oct 2010 14:08:00 -0400

The WSJ posted in yesterday’s Opinion Page excerpts from a speech by Jeff Bewkes - chairman and chief executive of Time Warner, Inc. He foresees a new era of TV watching, augmented by 21st digital technologies, communications, and devices:

But now television is at a critical moment in its evolution. Whether audiences continue to enjoy this golden era of TV will depend largely on whether content creators continue to stay apace of consumer needs and make strategic decisions that favor long-term sustainability over short-term dollars.

I believe the best path for TV’s next phase is clear. For the past 15 months, Time Warner, along with a growing number of content and distribution companies, has been implementing a new strategy called TV Everywhere. It operates on a simple but powerful premise: If you have access to television in your home—whether through rabbit ears or a paid cable, satellite or telco subscription—you should be able to view all the channels you receive on demand on whatever broadband device you wish.

That means on-demand access to your favorite shows not only on the TV in your living room but also on your laptop or tablet wherever you might take it—all at no extra cost.

It’s interesting to note the business model that he cites as one of the reasons that TV has endured better than its other media brethren:

One of the reasons why television has performed well while other media industries have struggled is that TV has developed a system of dual revenues from subscribers and advertisers that has served viewers successfully in digital formats for three decades now, leading to an explosion of choice for consumers at a reasonable value and programming that is ever more original, diverse and daring.

A subscription/advertising model…hmmm, seems like several other internet content providers - like Hulu and Netflix - are also adopting this model. I wonder if this portends a time in the near future when internet and TV will mesh to form a new type of content delivery service?

Screenshot of HSX.com, site of proposed Hollywood Stock...

Mon, 09 Aug 2010 17:52:10 -0400

Screenshot of HSX.com, site of proposed Hollywood Stock Exchange. Note the title of the Leonardo DiCaprio film - Oh, the irony!

Hollywood Shorts Itself

Mon, 09 Aug 2010 17:50:26 -0400

Hollywood - for all its bright lights - still maintains a dense shroud of secrecy over how its net grosses are accounted for. The threat of fiscal transparency may have been a motivating factor in the industry sponsored provision outlawing movie-futures trading that was successfully lobbied into the July 21 federal financial reform bill. According to an article in New York Magazine about the failure of the proposed Hollywood Stock Exchange:

It’s not surprising that an industry steeped in financial shadiness feared such an idea. Despite the casual fluency with which many moviegoers now speak about per-screen averages and week-to-week holds, the way grosses are tallied is largely shielded from scrutiny. A company called Rentrak (which bought Nielsen’s box-office business) compiles the data, and the chief watchdogs preventing a studio from misreporting its grosses are … other studios.

Foreign Tastes Shaping Hollywood

Tue, 03 Aug 2010 06:13:45 -0400

Seems American audiences aren’t the only ones who dictate the latest Hollywood fare:

The rising clout of international audiences is a sea change for Hollywood. Decades ago, a movie’s foreign box office barely registered with studio executives. Now, foreign ticket sales represent nearly 68% of the roughly $32 billion global film market, up from roughly 58% a decade ago, according to Screen Digest Cinema Intelligence Service.

The result is that one of the most American of products is now being retooled to suit foreign tastes. Studios have begun to cast foreign actors in American-themed blockbusters like “G.I. Joe.” Scripts are being rewritten to lure global audiences. And studios are cutting back on standard Hollywood fare like romantic comedies because foreign movie-goers often don’t find American jokes all that funny. Several Hollywood studios have gone as far as financing, producing and marketing original movies for markets like South Korea and Brazil.

Source: WSJ

Netflix vs. The Public Library

Tue, 03 Aug 2010 05:46:00 -0400

The public library is not only a great place to check out books, but it has also become one of the most popular spots to rent a film:

According to the survey released by the Online Computer Library Center, public libraries in the U.S. lend an average 2.1 million videos/day, which edges out the 2 million discs shipped by Netflix and almost as much as the combined total of DVD rentals at Redbox (1.4 million) and Blockbuster (1.2 million).

Short URL: http://con.st/10009511

Internet Pay-to-play?

Tue, 03 Aug 2010 05:42:38 -0400

In yesterday’s WSJ Opinion Page, Peter Funt argues that customers will pay for online content:

Yet often overlooked is the fact that virtually all trend lines in recent communications history have moved, with success, from free distribution to some form of pay model. The viewing and listening public has demonstrated repeatedly its willingness to spend for content, so long as there is some degree of perceived value.

Could this mean the proliferation on the web of subscription based video sites? David Lynch has been experimenting with this model: www.davidlynch.com. There are already several established sites like Hulu, Jamon, The Auteurs, and Netflix that are offering this service. But could this model also work for an individual or group of independent filmmakers? Will there be a time in the near future when all cinematic genres, styles, and tastes are represented by independent subscription-based video sites?

Japan Prize 2010: Call for Entries

Thu, 13 May 2010 06:51:34 -0400

Wanted: Innovative TV Programs, Films, Websites and Games with Educational Value

The JAPAN PRIZE 2010 has begun accepting entries on April 1.

Outline of the Contest:

Established in 1965 by NHK, the JAPAN PRIZE has been widely acknowledged as a unique contest contributing to the development of educational broadcasting and media. The targets of the current contest include not only TV programs but also movies, websites, games and other audiovisual materials. Last year we received entries from 65 countries/regions, and we hope more and more productions with educational value will be entered.

Schedule:

· Entry deadline: July 31 (No entry fee is required)

· Announcement of the Preliminary Selection: September 1

· Announcement of the Awards: October 27

Divisions and Categories:

· Audiovisual Division (Target media: TV programs, films, websites, games, etc.)

o Pre-school Category (around age 6)

o Primary Category (around age 6 to 12)

o Youth Category (around age 12 to 17)

o Continuing Education Category (around age 18 and over)

o Welfare Education Category (for any age)

· TV Proposal Division (Target: TV producers in countries/regions with limited means)

Awards:

· Grand Prix Japan Prize (USD 5,000) (Selected from among the Best Works)

· Best Work Prize in Each Audiovisual Category (USD 3,000)

· Best Proposal Prize (USD 8,000)

· Special Prizes (USD 2,000~USD 3,000)

For more details„ please visit our website:

http://www.nhk.or.jp/jp-prize/english/index.html

If you have any questions, please feel free to contact us.

日本奖事务局里有会中文的职员在籍。

如果有要求，请询问。

JAPAN PRIZE Secretariat

Phone: +81-3-3465-6199

Fax: +81-3-3481-1800

E-mail: s01602-japan-prize@nhk.or.jp

What's the latest trend among high-end fashion houses? Shorts...film shorts, that is.

Thu, 13 May 2010 06:36:00 -0400

According to a recent article in the WSJ:

“Arty, sometimes obscure videos have long been produced by fashion houses looking for a subtle way to peddle their brand to a discriminating audience. But such efforts have been limited to the big brands and scattershot, reflecting the high cost of production and screen time. While getting a 30-second television commercial can be expected to cost at least $1 million, an online fashion video can average $50,000 to produce with no distribution costs, executives say.

With the Internet and digital technology, industry executives say short online videos have become an essential part of the fashion marketing tool box, offering customers a new way to interact with a brand and show clothing in motion. Yves Saint Laurent, Marni, Rebecca Taylor and Steven Alan—none of whom have ever advertised on television—have all released online films within the last six months, timed to coincide with runway season as well as to the arrival of in-season clothes in stores.

The lower production and distribution costs also allow fashion houses to be more daring and experimental in their efforts. Marni’s video for the 2010 Summer collection, released in January in collaboration with video artist Rohan Wadham, is a two-minute stop-motion vignette starring two almond-eyed white dolls. Prada’s “First Spring,” by artist Yang Fudong, is an esoteric, noirish nine-minute black-and-white film in which no one speaks a word.”

Prada’s ‘First Spring,’ directed by artist...

Thu, 13 May 2010 06:26:48 -0400

Prada’s ‘First Spring,’ directed by artist Yang Fudong

What do soybeans, greenbacks, and "Hangover 2" have in common?

Fri, 02 Apr 2010 06:19:00 -0400

The first two are commodities currently traded in the futures market - and they many soon be joined by Hollywood movies. According to an article in the 3/24 NYT:

“The Commodity Futures Trading Commission has been reviewing applications from two companies that, if approved, would open markets to trade movie contracts. Buyers and sellers on the markets would place money on whether a movie will sail or sink at the box office.”

Proponents argue that it will allow Hollywood studios and producers to spread the financial risk of a film. There is strong opposition, though, against the proposed markets by the MPAA and several industry unions.

For more info: ”A Place to Bet Real Money on Movies,” NYT, 03/10/10

Apple Scrambling for iPad Content

Fri, 19 Mar 2010 16:11:11 -0400

Maybe the iPad’s tagline “wonderful and magical” should be downgraded to “neat and handy”. According to an article in today’s WSJ, Apple is scrambling to line-up content for its multi-media device in time for its release. Sounds like it will take some time before consumers will be able to realize the full potential of the tablet:

“Apple Inc. is still trying to secure media content for the iPad with just weeks to go before the tablet computer’s release, said people familiar with the matter, as the company tempers some of its initial ambitions for the much-hyped device.

Since the iPad became available for pre-order last Friday, Apple has seen strong demand and sold hundreds of thousands of units, say people familiar with the matter. One of these people said Apple could sell more iPads in the first three months than it sold iPhones in the three months after the smart phone’s debut.

But lining up TV programming, digital newspapers and other content ahead of the iPad’s April 3 release has proven difficult for Apple as some potential collaborators weigh the advantages of working with the company against the potential threats to their current sources of revenue, people familiar with the matter say.

Apple is still negotiating with media companies for a price cut on TV shows that people can download onto the device, some of these people say. Apple also hoped to work closely with newspaper, magazines and textbook publishers on new ways to digitally present print content on the iPad, but has for now put the effort on backburner, said one of the people.

The last-minute discussions show the complexities that Apple and Chief ExecutiveSteve Jobs are facing in creating an Internet-connected multimedia device, which has pushed the company to pare back some of its initial intentions for the iPad’s release.”

YouTube dabbles in indy film rentals

Mon, 08 Feb 2010 16:52:07 -0500

The result of YT’s foray was less than overwhelming. This begs the question - especially In light of Carr’s article (see previous entry) - what value does online distribution bring to indy filmmakers? As the technology for making films has become more accessible, there has been a sharp increase in competition for limited venue space. Non-traditional avenues of distribution, like the web, are starting to become the norm. Most filmmakers will need to look to digital distribution to connect with audiences. With the proliferation of on-demand video, will there also be a decrease in the amount of revenue that a filmmaker can expect to generate from his or her project?

As noted in the NYT’s Bits section today:

“To be sure, for the independent filmmakers, the YouTube rental model is just one of many avenues they are pursuing because traditional distribution models no longer work for them. Fewer than one in four films from last year’s Sundance festival received commercial distribution.”

You can read the entire article here:

YouTube’s Take From Movie Rentals: $10,709.16

Plentiful - and cheap - web content?

Mon, 08 Feb 2010 15:59:20 -0500

NYT’s David Carr writes about the cheap web content provided by services like Demand Media. This article made me wonder about the future of how content will be provided on the web. Do free content sites like YouTube devalue filmmakers by setting the expectation that videos made for the web should be inexpensive? As Carr points out in his article, the independent producers for Demand Media are paid relatively very little while the company appears to profit handsomely from their efforts.

Read the full article here

MOMA documentary film fest

Mon, 08 Feb 2010 10:14:41 -0500

MOMA documentary film fest:

The Museum of Modern Art in New York is hosting an International Festival of Nonfiction Film from February 17 - March 3. Click on the above header to access a schedule of films & events.

EDK: Upcoming funding deadlines

Mon, 08 Feb 2010 10:12:14 -0500

EDK: Upcoming funding deadlines:

Click on the header above to access a list of upcoming funding deadlines for documentary films. Courtesy of the European Documentary Network.

King of the mountain: China renames peak after Avatar film

Thu, 04 Feb 2010 15:01:56 -0500

From the WSJ’s CHINA REAL TIME REPORT:

“…Avatar’s box-office record-breaking success in China recently inspired officials in Zhangjiajie, a scenic area of Hunan province, to rename one of their mountains after the film. The craggy peak formerly known as South Sky Pillar (which was also known as Heaven and Earth Pillar) was rechristened “Avatar Hallelujah Mountain” at an official ceremony in the Wulingyuan national park Monday.

But while Avatar has many fans in China, the decision to rename part of a UNESCO World Heritage Site after a Hollywood film hasn’t been quite as popular.”

Read the entire story

RI Gov's budget calls for elimination of film tax credit

Tue, 02 Feb 2010 16:03:32 -0500

It looks like the film tax credits will fall victim to the budget woes afflicting our state. I understand the pros and cons surrounding the tax credits: they help to attract film projects, but also take money out of the public tax rolls. It seems like a shame to thrown the baby out with the bath water by completely undoing the credits. As I mentioned in my article in Saturday’s ProJo (see post below), the credits could be part of a package of offerings used to build a film and digital media industry in this state. The goal should be to encourage new businesses to emerge, not to drive them elsewhere.

This is an excerpt from a story published in today’s ProJo:

[Lisa Carneval] also found allusions to the “governor’s proposal to eliminate two existing tax credits and institute a new tax credit, albeit one of a temporary duration.” More specifically, the document signaled Carcieri’s plans to eliminate “the state’s Motion Picture Production Company Tax Credit and the Enterprise Zone Wage Tax Credit.

While the film tax credits helped lure big name movie-makers and stars to Rhode Island, even the most ardent advocates of the program have had a hard time convincing the bean-counters that the state’s taxpayers have gotten back more than they lost in forgone income taxes.

To read the full story, visit:

Details of Carcieri’s budget emerge

ProJo - Adam Short: The promise for R.I. of film and digital media

Sat, 30 Jan 2010 10:00:22 -0500

ProJo - Adam Short: The promise for R.I. of film and digital media:

It struck me that the lessons and triumphs of New Zealand could be applied to Rhode Island in creating a vibrant film and digital-media industry. With dim economic prospects and a chronic “brain drain” of talent, it is imperative that Rhode Island foster new industries. Our lawmakers can incentivize small companies and entrepreneurs to locate here by easing their tax, regulatory, and fee burdens; as well as providing better infrastructure and political support.