Archive for January 2013
A $100 million film fund is not to be ignored, and this one comes from the fans as outlined by Mike Masnick in $100 Million Pledged To Indie Film On Kickstarter… And 8,000 Films Made. Some of the highlights:
- $100 million pledges ($86 million raised as some projects did not get fully funded). $60 million in 2012 alone.
- 8,000 movies actually made, 86 with theatrical release.
- three of the 20 best-reviewed films of 2012 are Kickstarter-funded (The Waiting Room, Brooklyn Castle, and Ai Weiwei: Never Sorry).
- Two Oscar nominations: in the past two years: Sun Come Up and Incident in New Baghdad. A third, Barber of Birmingham, launched a project after being Oscar-nominated.
- Three documentary features and two documentary shorts are currently shortlisted for Oscar nominations in 2013: The Waiting Room, Detropia, Ai Weiwei: Never Sorry, Inocente, and Kings Point.
- 10% of the films submitted to Sundance or SXSW and Tribeca film festivals.
- 16 films broadcast on HBO, PBS, Showtime, and other networks.
That’s a pretty decent film fund, and fairly successful at that.
As I’ve noted, Robert Cringley is writing a series of articles on how “Hollywood” (the studios, network broadcasters and cable companies) might be disrupted by “Silicon Valley” (i.e. Apple, Amazon, Google, Netflix, et al). He notes the exact same problem that Intel (and everyone else) in disrupting Hollywood: that incumbent content controllers don’t want to disrupt their own very profitable existing ecosystem for an uncertain future. (more…)
Is Cloud Editing ready for prime time? One reviewer at BroadcastEngineering.com takes a look at current (or near future) offerings from Adobe and Avid.
Both companies take a similar approach – storing media and doing all editing remotely, feeding only the result down an adaptive pipeline with high resolution stills updated when playback stops. I also think both are aimed at “private” clouds where only the one organization’s folk work in that cloud, as opposed to a service run by Adobe or Avid. Neither have announced any service-based options (to date).
Terence Curren and I discussed collaborative editing and the likely outcomes last year in Episode 40: Will we be outsourced or automated out of existence?
You know how the end of the year comes up and you wonder where the year went? Well, Greg (my partner who writes our software) calculated where his year went:
Event Manager X, released July 2011 (7 updates over 6 months in 2011; 9 updates in 2012)
Xto7 for Final Cut Pro a.k.a Project Xto7, released October 2011 (8 updates in 2 months during 2011; 17 updates in 2012)
7toX for Final Cut Pro, released January 30, 2012 (16 updates over 11 months)
Sync-N-Link X, released April 2012 (5 updates over 8 months)
Sequence Clip Reporter , 7 updates in 2012
With updates to our other Final Cut Pro 7 software, it’s a total of 63 releases or updates to apps in a year, or more than one a week.
I think the implicit attitude in this Variety article, 2012: The year pay TV fought off the future, reveals just how ill prepared the current established pay TV business is for the inevitable disruption. Variety proclaims:
But despite the fragility of their delicate bond, programmers and distributors didn’t face any real challenge in 2012 from any of the expected upstarts hoping to gain rights to live TV and package it in more innovative ways.
If anything, the content companies demonstrated an increasing savvy in capitalizing on digital challengers. And what little damage the old guard sustained on new platforms seemed more self-inflicted than the result of any outside threat.
Right, there are no threats, the established industry is doing just fine, and we’re going to adapt and lead the future, because nothing dramatic happened in 2012! It’s a fairly long article, and I’m sorry if you get frustrated by Variety’s paywall, but it is worth reading to get an insight how the trade’s own rag thinks the business is going.
Frankly if I were Variety, I’d be more worried about my own future disruption.
Ironically, reading the article through, it makes good points showing where the disruption will come from.