CAT | General
Variety just posted an article on how many people had watched online game play (of one game) in one week. 75,000 players and 6 million individual viewers who collectively watched 327 million minutes of gameplay. Watched. That’s about an hour per viewer on average.
Six million people watching one game’s game play. That’s a decent network-sized audience these days. That’s one game for one week. Admittedly a release week for the game.
Watching game play has become a huge audience, with very low production costs. While it’s not traditional production, the time spent watching gamers play video games, erodes the time available for other forms of entertainment, specifically films and television!
Once upon a time it was easy to differentiate between Film and TV production: film was shot on film, TV was shot electronically. SAG looked after the interests of Screen Actors (film) while AFTRA looked after the interests of Television actors. That the two actors unions have merged is indicative of the changes in production technology.
As is noted in an article at Digital Trends, there is almost no difference between the technologies used in both styles of production, so what are the differences? It comes down to two thing, which are really the same thing.
One of my non-metadata interests is in food, so I read a lot of food related articles, including this one where Anthony Bourdain talks about the foodie revolution. What stood out was this comment after discussing the traditional way a talented young chef might make their way through the kitchen hierarchy over decades, vs the modern “democratized” approach where a talented young chef just ups – maybe via a food truck – and gets their career started.
“A lot of old-school guys complain about this—you’re not paying your dues. That’s the downside. The upside is interesting people with something to say and a unique worldview can actually get their name out there and open a place with relative ease compared to the way it used to be.”
This reminds me of modern production: it’s been democratized to the point where, if you have an idea, you can make it happen.
Apple frequently talk about being at the “intersection of Technology and Liberal Arts” but we rarely experience that other than through their hardware and software. Thanks to the encouragement of our friend Cirina Catania, we (Cirina, my partner Greg and myself) experienced the Invisible Cities Opera in LA’s Union Station. That’s a really unusual place to stage an opera, and indeed this was a most unusual artistic experiment and experience, involving large amounts of production skills – staging, singing, etc – and some amazing technical chops from Sennheiser and Bexel (Burbank CA).
According to Breaking Bad creator Vince Gilligan is the latest to speak to its brighter side. “[It] led to a lot of people watching the series who otherwise would not have,” Gilligan tells the BBC.
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.
A recent article in the Atlantic confirms my long standing suspicion that the best writing and most interesting characters with the most interesting stories are on TV, not in the movies.
When you are designing your marketing messaging, you need to clearly communicate the benefit (or even the service/product you’re providing) to those who have no idea what you do. In light of what I’ve observed on the exhibition floor at IBC, I may even need to reconsider our own “Taking the boring out of post” slogan as not being clear enough.
Terence and Philip mainly focus on the cost of producing movies, but there are lots of tangents in between.
I’m working on a side project for my friend Cirina Catania who’s trying to get a series running called After Action Stories about what happens to servicemen once they return from service. The pilot stories have revolved around Furnishing Hope that we shot back in May. One interview edit has been on hold until we were able to shoot some B-roll of Furnishing Hope in action. (They transform an empty apartment or house into a home in 3 hours.)
For the first time ever in my life there was more b-roll than I could use. Between us, Cirina and I captured over 320 video shots and hundreds of stills. The footage spoke to me and called me to put it together into something that Furnishing Hope could use to attract sponsors. Then something odd happened.