CAT | Business & Marketing
Today, Adobe held a “family and friends” screening of Gone Girl on the Fox lot. It felt very much like Adobe’s formal Debutante appearance in Hollywood – the world of Studio films. For those who do not know, David Fincher’s Gone Girl was the first studio film edited on Adobe Premiere. It must be a proud day for the entire Adobe Premiere Pro team, but I couldn’t help but reflect on what a great day it must be for Adobe’s Mike Kanfer, who has worked tirelessly promoting Premiere Pro within the Hollywood Filmmaking community to see this day happen.
It’s a damned good film, you should go see it, although I was a bit squeamish in one part.
Anyway, Greg and I – aka Intelligent Assistance – were very proud to have been a small part of Adobe’s success story, by providing the crucial Change List tool for Adobe Premiere Pro. We’ve still to commercialize it into an Adobe Panel, but it’s coming.
We were also very pleased with a “Special Thanks” credit on the movie itself. It’s right at the end but we’re in good company.
This interview was recorded a couple of months back, and I’ve been waiting for it to come out, as I think it’s one of my three favorite times as interview subject of all time, along with recent interviews on That Post Show (Episode 13) and FCPX Grill. This one is interesting because it focuses more on my adventures in business rather than production or post production. Apparently during the interview I talk about (from Scott’s description, not my own):
- How to recover when forces outside of your control destroy your entire business model.
- Moaning and complaining is a rather poor business approach.
- To always be on the look-out for new opportunities.
- When to tell your clients to go pound sand.
- How to concentrate on things to advance your company’s goals.
- That marketing is education.
- What is the best way to eat a giant animal.
The Podcast’s full name is The Video Crush with Scott Markowitz and I’m up in Episode 3.
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.
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.
In this episode Terence and Philip discuss NAB 2014: Avid’s direction, AJA’s new camera, drones and cars that drive themselves, the new Dolby monitor, NAB excitement levels, and Lumberjack System.
According to interviews quoted in Entrepreneur magazine, former Apple CEO Steve Jobs hated two words “brand” and “marketing,” which is odd considering people consider Apple one of the best marketing companies in the world. However, this quote explaining the Apple approach to marketing resonated. (more…)
Terence and Philip discussion innovation, starting with a recent article questioning Avid’s continued ability to innovate. The discussion covers who might be innovating, what it innovation and a whole lot of other subjects as well.
In this episode Terence and Philip discuss the way the App Store works and the issues that arise for developers; business models and compatibility between versions in Media Composer; in-app purchases; Adobe panels; Flash; Creative Cloud; app interchange formats; reporting; and app ecosystems.
House of Cards spurred a lot of binge viewing. Gary Delfiner is one who binged and thinks there might be an opportunity for additional revenue to producers by preselling a popular series to the most ardent fans first. Give them early access before the “free” (or no additional payment) version some weeks later.
So far the evidence from Tor Books and O’Reilly (publisher of David Pogue’s Missing Manual series) has shown no decrease in sales when their e-Books went DRM free. Conventional wisdom was simply wrong.