The present and future of post production business and technology | Philip Hodgetts

CAT | Business

A new show in which we discuss 4K. http://www.theterenceandphilipshow.com/?p=546

In this free webinar I examine Apple’s ProRes codec inside and out. Content includes:

Apple’s ProRes family is becoming one of the most common formats in production and postproduction, but how much do you really know about this code? Which version is best for your needs?

  • Introducing the ProRes family
  • RCBA vs YUV – what does it mean?
  • Lossless vs Visually Lossless
  • Using ProRes: a codec by codec guide.

Check out the trailer and register free.

Avid folk – hi Frank – have been promoting this survey result that purportedly shows that Media Composer  is used more than all other NLEs. In fact the article starts off with:

Avid Media Composer remains the most popular editing system in production by a considerable margin. It’s the primary editing system of 70% of our respondents, proving that it still rules the roost despite the challenge from Apple and Adobe

Which is hardly accurate if you really examine the subject. In fact is bordering on deliberately misleading.

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In recent announcements, Amazon Studios debuts five pilots in their third wave of original programming. Meanwhile Netflix is going for humor in a series of comedy specials.

The more funding opportunities, the more production is done and that’s good for all of us.

After a long period going back over accounts without reporting, we are finally going to be able to get an insight into how Avid’s financial position is looking. With the revised plan to publish restated accounts for 2011, accounts for 2012, and 2013. Within 40 days of that, the figures to June 2014 will be published.

I look forward to having a detailed look at the company’s financial position.

An article in Forbes this week asserts that Netflix’s eventual world-wide reach will prevent funding via pre-sales through traditional territory-by-territory strategy. While a shift is this necessarily a bad thing?

Indeed, Netflix will likely expand from creating original series to creating its own large budget films, with the initial premiere on-line.  Netflix may be a vibrant, important source of new financing that disrupts the studio system and bypasses standard distribution channels.

 

Yesterday I had to pleasure of being invited to USC for Avid’s Avid Everywhere presentation. Shortly thereafter I attempted to share what I learnt with Larry Jordan and Michael Horton on the Digital Production BuZZ. Avid friends, I hope I got it close to right!

Here’s the link to my segment on the BuZZ. http://www.digitalproductionbuzz.com/BuZZ_Audio/Buzz_140731_Hodgetts.mp3

Aug/14

1

Comparing Streaming Services

I have to say that there is a lot of difference in the experience delivered by Amazon Instant Video and Apple’s iTunes.

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It seems that every content distribution company has decided that original content is the way forward. Amazon’s recent announcement that they would spend $100 million on original production adds to Apple’s UK music festival, Netflix and Google’s original programming. Google are spending on YouTube production as well.

In context though… $100 million would buy you two seasons of Mad Men.

We’ve seen all the new media giants start creating their own exclusive content: Netflix, Amazon, Microsoft (although that’s being closed down) and of course, Apple. Apple??? That’s right, Apple. Most people don’t realize that Apple is also in the content creation business, but the iTunes Music Festival is really about creating exclusive content for Apple’s ecosystem. Given this is the 8th year of the festival, Apple have been creating original content for their ecosystem longer than anyone else.

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