Month: July 2010

Categories
Item of Interest The Business of Production

High Quality Fan Flick Leads To $8 M Funding

High Quality Fan Flick Leads To $8 Million Hybrid Fan/Investor Funded Pro Film http://bit.ly/cARYs3

If you missed Star Wreck a couple of years back, you should take the time to revisit. I was privileged to interview the founders on the Digital Production BuZZ back when I was more actively involved in that show. Made in a 10×12′ room, on green screen, even the main deck is a composite shot if there are more than 2 people in it. The animation work was amazing. It was the work of a core crew of dozens and more than 300 people were involved at some point in the three year creation process.

Well, the success of that film – it’s made a lot of money despite being available for free download and is the most popular Finnish movie ever.

They’ve been working on the sequel for some time and the good news is that it’s been funded with a combination of fan funding and more traditional professional funding in a combination not tried before.

But what’s most interesting to me is how this story progressed. It went from some fans messing around and creating a rather impressive film visually speaking, to a new $8.5 million production. $8.5M is still a small amount from a movie-making perspective, but it’s not nothing. Plenty of excellent indie films have been made for a lot less. And, of course, you never know what happens next, after this film is made as well. And that was really the point. It was never that the model that created Star Wreck was the answer, but that the overall ecosystem is evolving, and its evolving to a world where the fans and the community really area a part of things, rather than looked at as evil people who just want stuff for free. Embracing your community leads to wonderful possibilities.

Seems maybe you don’t need $200m for every blockbuster!

Categories
Item of Interest

Kachingle Hopes ‘Social Payments can help Fund Content

Kachingle Hopes ‘Social Payments’ Can Help Fund Content http://to.pbs.org/dlzEq5 startups to share money you donate btwn sites.

More than just simple donations, social payment systems such as Kachingleand Flattr simplify giving money to sites you visit. Both services set up a monthly payment system, with a set amount each month, and the more sites you like, the more ways your payment is split.

The sites ultimately share about 80% of your donation after PayPal and company fees of about 7%

I’m dubious, but anything that can help fund production is a good thing.

Categories
Item of Interest The Business of Production

David Lynch To Crowd-Fund Next Project

David Lynch To Crowd-Fund Next Project http://bit.ly/9R41mn

Well now Lynch is diving headfirst into the unchartered waters of crowd-sourcing and fan-funding akin to whatTrent Reznor attempted to do with Nine Inch Nails and the digital release of the album Ghosts. For fifty smackers, you can be part of Lynch’s project (tentatively titled Lynch three Project) which is said to be a personal examination of his last major theatrical effort Inland Empire along with chronicling some personal habits of the artist.

 

Categories
Metadata Video Technology

How Adobe ‘gets’ metadata workflows

Thanks to an upcoming piece of software we’re working on I’ve been spending a lot of time within the CS5 workflow environment, particularly looking at metadata and the Story workflow, and I’ve come to the conclusion that we’ve been so blinded by the Mercury Engine’s performance that we might not have seen where they’re heading. And I like what I see.

Most readers will likely be aware of the Transcription ability introduced with CS4 and updated in CS5. Either in Soudbooth, or in Adobe Media Encoder (AME) via Premiere Pro for batches, the technology Adobe builds on from Autonomy will transcribe the spoken word into text. Our initial testing wasn’t that promising, but we’ve realized we weren’t sending it any sort of fair test. With good quality audio the results are pretty good: not perfect but close, depending on the source, of course.

We first explored this early in the year when we built and released Transcriptize, to port that transcription metadata from the Adobe world across to Apple’s. That’s what set us down our current path to the unreleased software, but more of that in a later post.

Now we’re back in that world, it’s a pretty amazing “story”. There’s three ways they get it that I see:

  1. Good metadata tracking at the file level
  2. Flexible metadata handling
  3. Metadata-based workflows built into the CS applications (and beyond).

Balancing that is the serious miss of not showing source metadata from non-tape media that doesn’t fit into pre-defined schema. At least that seems to be the case: I can’t find a Metadata Panel that shows the Source Metadata from P2, AVCCAM/AVCHD, or RED to display. Some of the source metadata is displayed in existing fields, but they are only the fields that Adobe has built into Premiere Pro, which miss a lot of information from the source. For example, none of the exposure metadata from RED footage is displayed, nor Latitude and Longitude from P2 and AVCCAM footage.

That’s the downside. To be fair, Final Cut Pro doesn’t display any of the Source Metadata either (although you can access it via the XML file.)  Media Composer can show all the Source if desired.

Good Metadata Tracking at the file level

Apple added QuickTime Metadata to Final Cut Pro 5.1.2 where they retain and track any Source Metadata from files imported via Log and Transfer. This is a flexible schema but definitely under supported. Adobe’s alternative is XMP metadata. (Both XMP and QuickTime metadata can co-exist in most media file formats.)

XMP metadata is file based, meaning it is stored in, and read from, the file. There are seven built-in categories, plus Speech Analysis, which is XMP metadata stored in the file (for most formats) but considered as a different category in the Premiere Pro CS5 interface. I believe that the Source metadata should show in the XMP category because it is file-based even if its not XMP.

On the other plus side XMP metadata is very flexible. You don’t need third party applications to write to the XMP metadata. Inside Premiere Pro CS5 you simply set up the schema you want and the data is written to the file transparently. If the data is in a file when it’s added to a project, it’s read into the project and immediately accessible.

This metadata travels with the file to any and all projects. This provide a great way of sending custom metadata between applications. Speed Analysis metadata is also carried in the file, so it can be read by any Adobe application (and an upcoming one from us, see intro paragraph) direct from the file.

Flexible Metadata Handling

Not only is the XMP file-based metadata incredibly flexible, but you can also apply any metadata scheme to a clip within a Premiere Pro project, right into Clip metadata. For an example of how this is useful, let’s consider what we had to do in Final Cut Pro for First Cuts. Since Final Cut Pro doesn’t have a flexible metadata format, we had to co-opt Master Comments 1-4 and Comment A to carry our metadata. In Premiere Pro CS5 we could simply create new Clip-based fields for Story Keywords, Name, Place, Event or Theme and B-roll search keywords.

(Unfortunately this level of customization in Premiere Pro CS5 does not extend to Final Cut Pro XML import or export.)

An infinitely flexible metadata scheme for clips and for media files (independently) is exactly what I’d want an application to do.

Metadata-based Workflows in the CS5 Applications

To my chagrin I only recently discovered how deeply metadata-based workflows have become embedded in the Adobe workflow. (Thanks to Jacob Rosenberg’s demonstration at the June Editor’s Lounge for turning me on to this.) Adobe have crafted a great workflow for scripted productions that goes like this:

  1. Collaboratively write your script in Adobe Story, or import a script from most formats, including Final Draft. (Story is a web application.)
    • Adobe Story parses the script into Scenes and Shots automatically.
  2. Export from Adobe Story to a desktop file that is imported into OnLocation during shooting.
    • In OnLocation you have access to all the clips generated out of the Adobe Story file. Clips can be duplicated for multiple takes.
    • Clips are named after Scene/Shot/Take.
  3. During shooting you do not need to have a connection to the camera because some genius at Adobe realized that metadata could solve that problem. All that needs to be done during shooting of any given shot/take is for a time stamp to be marked against the Clip:
    • i.e. this clips was being taken “now”.
    • Marking a time stamp is a simple button press with the clip selected.
  4. After footage has been shot, the OnLocation project is “pointed” to the media where it automatically matches the shot with the appropriate media file, based on the time stamp metadata in the media file with the time mark in the OnLocation Clip.
    • The media file is renamed to match the clip. Ready for import to Premiere Pro CS5.

Now here’s the genius part in my opinion (other than using the time stamp to link clips). The script from Adobe Story has been embedded in those OnLocation clips, and is now in the clip. Once Speech Analysis is complete for each clip, the script is laid-up against the analyzed media file so each word is time stamped. The advantage of this workflow over using a guide script directly imported is that the original formatting is used when the script comes via Story.

All that needs to be done is to build the sequence based on the script, with the advantage that every clip is now searchable by word. Almost close to, but not quite, Avid’s ScriptSync based on an entirely different technology (Nexidia).

It’s a great use of script and Speech Analysis and a great use of time-stamp metadata to reduce clip naming, linking and script embedding. A hint of the future of metadata-based workflows.

All we need now, Adobe, is access to all the Source Metadata.

Categories
Item of Interest

Science enters iPhone 4 Aerial debate!

Science enters iPhone 4 Aerial debate! Turns out Consumer Reports may not have had the most rigorous science in their testing.

On Reception – The iPhone 4 hysteria – The Real Life/Lab Test Conundrum

Yes, the iPhone 4 is broken / No, the iPhone 4 is not broken

Analyst says ‘Consumer Reports’ test of the iPhone 4 is flawed, ‘barely scientific’

But, of course, rational discourse doesn’t boost page views at websites, so we get the wildly irrational comments from those who just want to take Apple down a peg.

Ultimately I think Techcrunch has the last word after pointing out that the big fuss over Facebook Privacy that was going to cause everyone to leave Facebook just two months ago, and yet Facebook has had their best month ever:

The reality of the situations in these massively-hyped controversies is often quite boring. No one is quitting Facebook over privacy concerns because most people are oblivious or simply don’t give a shit (sometimes for good reason, sometimes not). In fact, Facebook is growing just as fast as before. Maybe faster. And millions of people are going to continue to buy the iPhone 4 because it’s the phone they want. If there’s a problem with the reception, they’ll deal with it by moving their hands a few inches or buying a bumper.

But no one wants to read those stories. Hell, I don’t want to write those stories. They’re boring. No service is dying, no users are getting maimed. But often, that’s the way it is.

BTW, I’m placing my iPhone 4 order today.

Categories
Assisted Editing Item of Interest

Letting the Machines Decide

Letting the Machines Decide http://bit.ly/aQwrUW (If you get stymied by the WSJ pay wall, simply go to news.google.com and enter “Letting the Machines Decide” and follow the link to the WSJ around the paywall.)

I know, not my usual stuff, but I have an abiding interest in all forms of artificial intelligence because, ultimately, I believe we’ll be able to apply a lot of the techniques and technologies developed for AI to automating Postproduction. Heresy, I know, but bear with me.

Anything that can be analyzed and systematized can be automated. When we were developing First Cuts – our tool for taking long-form documentary log notes and converting them to very fast First Cuts – the most challenging part of the exercise wasn’t teaching the computer to do something, it was analyzing what I did as an editor to make a “good” edit. Just imaging how complex are the rules for placing b-roll!

So, with that background and a belief that a lot of editing is not overtly creative (not you of course dear reader, your work is supremely creative, but those other folk, not so much!). It can be somewhat repetitive with a lot of similarities.

Just like the complexities of stock trading: knowing when to buy, when to hold and when to sell.

The programs are effective, advocates say, because they can crunch huge amounts of data in short periods, “learn” what works, and adjust their strategies on the fly. In contrast, the typical quantitative approach may employ a single strategy or even a combination of strategies at once, but may not move between them or modify them based on what the program determines works best.

What I think is really interesting is that the software tools started to act contrary to what an experienced trader would do, but:

In early 2009, Star started to buy beaten-down stocks such as banks and insurers, which would benefit from a recovery. “He just loaded up on value stocks,” said Mr. Fleiss, referring to the AI program. The fund gained 41% in 2009, more than doubling the Dow’s 19% gain.

The firm’s current portfolio is largely defensive. One of its biggest positions is in gold stocks, according to people familiar with the fund.

The defensive move at first worried Mr. Fleiss, who had grown bullish. But it has proven a smart move so far. “I’ve learned not to question the AI,” he said.

And that’s what we discovered. One night – after a couple of glasses of red wine – we decided to throw a “stupid” combination of story keywords at First Cuts to see what it would do. Well, would you believe in the six minute edit that eventuated, I only wanted to move one clip, and its associated b-roll, one shot early (swapping it) and as far as I was concerned the edit was done.

Categories
Item of Interest

Lack Of Food Copyright Helps Restaurant and Fashion Innovation Thrive

Lack Of Food Copyright Helps Restaurant Innovation Thrive http://bit.ly/d7YjrG Fashion industry also benefits from NO copyright.

Simply put, if the arguments of those in the entertainment industries were true, then there would be no innovation in restaurants or fashion because of the lack of copyright. (You can’t copyright a garment design or a food dish.) These industries thrive because of the lack of copyright.

When there is strong copyright protection – as the RIAA and MPAA have fought for over the years – the creators tend to sit on their hands and collect royalties (or those who actually own the copyright, rarely the actual creator) rather than go out and create more. The original intent of Copyright – grudgingly included in the US Constitution by the Founder – was to promote the creation of new works, by providing a limited time of exclusive rights before all creative works would fall into the Public Domain.

BTW, there’s actually a reasonable argument that since the US Constitution specifically:

To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.

Music, film and Television are not “Science” and “useful Arts” is correctly interpreted as those that make things –  like Carpentry. Note that our favorite “big copyright” claimers may not even have a Constitutional leg to stand on.

Anyhow, the article on how and why food and fashion thrive outside of copyright, is well worth the read.

Reader Ephraim points us to a recent post at the Freakonomics blog that highlights how the restaurant business absolutely thrives creatively, despite a lack of copyright protection. The main example: the rise of Korean taco trucks in LA. As you may or may not know (and trust me, you’re better off if you are familiar with this trend), a few years back, some enterprising folks set up a Korean taco truck in LA called Kogi. It quickly became a huge sensation, in part because the food is awesome and in part through smart marketing, including being one of the first food establishments to actively embrace Twitter. 

But what happened next is quite interesting. Throughout LA (and now around the country) there’s been an explosion of Korean taco trucks. And, it’s not just limited to trucks. As the article notes, the large chain Baja Fresh is now offering Korean tacos as well. Believers in strong copyright have trouble explaining why this happens. According to them, without copyright as an “incentive to create” people won’t innovate because they can’t be rewarded, but that’s not what’s happening at all:

Categories
Item of Interest

RIAA paid its lawyers more than $16 M to recover $391K!

RIAA paid its lawyers more than $16,000,000 in 2008 to recover only $391,000!!! http://bit.ly/9jR8D8

Rather than actually work on a new business model to replace the one that served the labels well when distribution was by physical (and therefore limited/scarce) goods, but instead of facing the inevitable the RIAA has tried to sue its fans out of existence and lobby for changes to Copyright Legislation to support a business model that has been obsoleted by a market and technology that’s simply moved on.

It’s worth noting that, while the recorded-music-on-physical-media business (the only one the Record Labels are in) is dying, the overall music business has never had it better. Ditto the movie business. More music and movies being made than ever; more people making decent livings off their music or movie making than ever.

But one business model – like the buggy whip, lamplighter, Linotype operator, et. al – is becoming superceded. Unless they adapt dinosaurs like the RIAA and MPAA members will dies. And it cant’ be soon enough for my taste.

The RIAA paid Holmes Roberts & Owen $9,364,901 in 2008, Jenner & Block more than $7,000,000, and Cravath Swain & Moore $1.25 million, to pursue its “copyright infringement” claims, in order to recover a mere $391,000. [ps there were many other law firms feeding at the trough too; these were just the ones listed among the top 5 independent contractors.]

Categories
Business & Marketing Distribution Item of Interest

Author Puts Novel Online For Free… And gets a book deal.

Author Puts Novel Online For Free… And Gets A Book Deal http://bit.ly/aS6DpH And sometimes self-publishing can lead to a deal with a major book publisher as has happened to Mac Video’s Rick Young who now publishes his Easy Guide to Final Cut Pro.

In this example, the author put her “young adult vampire novel” on document distribution site Scribd for free and the resulting publicity helped land a traditional book deal.

Now, just giving your content away for free and praying for a return isn’t going to work, but there are – according to my How to Grow and Monetize and Audience for your Independent Project seminar – 13 or 14 ways to use free distribution of content as a way of selling something else.

The rationale is that digital content is not scarce – it’s very easily reproducible for virtually nothing – then it’s hard to sell, because classic economics is based on scarcity. There are those who have tried to create artificial scarcity for digital goods, but those have generally failed badly. Where there has been success is where the infinite digital good is distributed free in order to promote something scarce: like concert tickets, merchandise and so on.

This is not that removed from traditional Record Label deals where the band makes nothing from their music but does from touring.

Categories
Item of Interest

Why Even Major Label Musicians don’t make Money from Album Sales

Why Even Major Label Musicians Rarely Make Money From Album Sales http://bit.ly/cZJZjj

If any other organization – other than the MPAA’s studios – pulled off this type of scam, they’d be shut down and the heads of the company would go to jail. Why aren’t the RIAA and MPAA dead yet? Borderline criminal organizations both.

Read the whole thing – it’s long and complex but if you have any doubt about the immoral intent of these organizations, read it.

Why on earth would anyone want a recording contract in this day and age. Money actually gets made by bands that sack their Record company and go it alone, or who have never had a recording contract to rob them blind.

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