CAT | Business
Since starting work on the Lunch with Philip and Greg I’ve battled a little with the multicam. Largely because I’m using it in an atypical way, although I suspect setups like mine will become more common in the future.
My solution was Automator actions, triggered by Function keys and activating an AppleScript, so that the mode is first switched to Video Only (for angles 1 or 2) or Audio only (3, 4 and 5) before switching to the angle. It reduces a lot of repetitive strain injury potential!
The tutorial is over at FCP.com, but here’s a little background.
While Augmented Reality and Virtual Reality often get conflated, they are very different beasts.
While Apple’s Eddy Cue says they’re not interested in original programming, that’s not 100% true. Cue said that Apple was only interested in the content space when the projects are tied to its existing products.
But it does not explain Planet of the Apps! I think Apple will be interested in original programming as soon as its seen to be strategically valuable. It’s a topic I’ve written on before in an article from December 2009.
What if Apple or Google simply bypassed Networks and Studios? which does some rough financial calculations which show that Apple could fund as much TV Show and Movie production as they want!
I’m also not the only one who thinks there will be more Apple original programming in the future:
From Variety: Apple Eyes Move Into Original Programming
Fast Company (as part of a bigger piece) suggest Apple is covertly pursuing original television programming deals.
And in yesterday’s Q3 Earnings Report Apple CEO Tim Cook said that we have to think about the Apple TV (current generation with tvOS) in a different way.
Cook: The introduction of the Apple TV and tvOS last October and the subsequent OS releases, what’s coming out this fall… think of that as sort of building the foundation for what we believe can be a broader business over time. I don’t want to be more precise than that, but you shouldn’t look at what’s there today and think: “we’ve done what we want to do.” We’ve built a foundation that we can do something bigger off of.
Given that Apple are slowly repositioning themselves to rely more on services revenue, and Apple TV is a foundation… Let the speculation begin.
Avid Media Composer has always been great at tracking metadata. Without accurate timecode, Media Composer would have never become established. Over the years Avid have continued to add metadata support to the app.
Reading an Avid blog on Spanish Broadcaster RTVE’s technical deployment in Rio, I was struck by this:
All of the cataloging and indexing process will be carried out by means of an autometadata software developed by the Corporación itself, which will enable the use of metadata provided by OBS and those selected by TVE’s documentary makers.
I’d love to know more about what the “Corporation” has done. Maybe we can set up a meeting for October when we’ll be back in Barcelona!
Spoiler alert: they use a lot of Avid technology!
A few days ago I wrote about metadata’s application to distribution. A recent panel discussion at the Rights and Metadata Madness conference outlined some of the challenges and case studies from Rovi, MLB and Viacom outlining their metadata needs and the practices they’ve developed to deal with them.
The article is worth a read, but I’ll highlight the challenge outlined by Michael Jeffrey, VP of market solutions at Rovi:
A feature-length movie with a sports theme and containing content that includes music from other properties can have assets from 20-50 separate entities.
And each of those entities can have restrictions on what the maker of that movie can show, he said, adding that it’s possible you can’t show any beer cans or can’t use an actor in any promotions.
Now let’s add the formatting, duration, and other issues from my earlier post!
Google today launched a new API to help parse natural language. An API is an Application Programming Interface, that developers can use to send data to, and get a response back. Natural Language Parsing is used to understand language that is available in computer-readable form (text). Google’s API joins an increasingly long list of very smart APIs that will understand language, recognize images and much more.
A lot has changed since I last wrote about Advances in Content Recognition late last year.
Comments off · Posted by Philip in The Business of Production
It’s hard to imaging but between them Amazon and Netflix plan on spending $8 billion on original content in 2016.
Amazon is expected to spend $2 billion, subsidized by Prime subscribers
Netflix’s subscribers will finance $6 billion in original programming.
Combined that would be 60 movies with a $100 million budget each. (Typically 400-500 movies are released by studios every year.)
Or 3000 ‘hour’ television episodes assuming a $2 million an episode budget. (Some would be higher, some lower). At 23 episodes a season, that’s one season for 130 different shows.
In this episode I get to spend a lot of time talking about the background the Lumberjack System, in the context of the very unsexy topic of workflow, particularly automating the workflow. I share many of the background decisions related to Lumberjack System – our logging and pre-editing system for Final Cut Pro X – including why it’s limited to FCP X.
Other topics include automation; Digital Heaven’s announcement of SpeedScriber; how Lumberjack has developed based on user, and use, feedback; the post NAB development of noteLogger; Prelude LIveLogger and the Premiere Pro ecosystem and NLE market shares; how development resources are allocated.
This certainly isn’t the first time Apple have filed for “Works with” Trademarks, and that’s what makes it interesting. Previously these type of trademarks have been for Apple Ecosystems, like iPhone, iOS, iPad, CarPlay, AirPrint, et al.
While I have no idea what it might mean – developers have no clues yet – it is interesting that iMovie and Final Cut Pro X are being considered as part of a larger ecosystem. For those who don’t know, these days iMovie is a version of Final Cut Pro X with a simplified interface.
Adobe revealed record quarterly earnings on March 17th, with $1.38 billion in quarterly revenue ($5.5B annualized) and 4.252 million Creative Cloud subscribers (us included).
Of course, Adobe is strongest in document handling and photography but every subscriber has access to the entire Creative Cloud suite. I believe the integration between the video and audio apps is one of Adobe’s strengths in the creative TV, film and video space.
If I had to place an educated guess, I’d say there are more active Premiere Pro CC users than Media Composer active users, but not as many as Final Cut Pro X.