Three authors, three examples of the disruption in publishing http://t.co/ldzT3lx
Both book publishing and film/television are industries that were built on scarcity, that are being disrupted n an age of non-scarcity. That’s not to say that there isn’t success and money to be made in the traditional businesses, but book publishing is an interesting place to look for parallels to television (particularly).
A matter of Mynd over movies – Â http://tinyurl.com/3le8bh3 Sorry about the Variety Paywall if you get hit with it.
Clearly reading brainwaves is getting a lot more advanced than I otherwise would have thought. This project reads “something” from the collective minds of the audience to influence story.
What are the editing concepts in FCP X and who is to for? http://tinyurl.com/3lamwnu
Another episode of The Terence and Philip Show where we attempt to decode the editing paradigms in Final Cut Pro X and who it is for. Â I admit, when Terry tries to push “prosumers” as the target market, I got frustrated and agitated because we both agreed Final Cut Pro X was for professionals but not “hollywood’ professionals.
Storytelling: digital technology allows us to tell tales in innovative new ways http://tinyurl.com/3pwthvc
Author Aleks Krotoski starts out with the importance of story.
Stories are memory aids, instruction manuals and moral compasses. When enlisted by charismatic leaders and turned into manifestos, dogmas and social policy, they’ve been the foundations for religions and political systems. When a storyteller has held an audience captive around a campfire, a cinema screen or on the page of a bestseller, they’ve reinforced local and universal norms about where we’ve been and where we’re going. And when they’ve been shared in the corner shop, at the pub or over dinner they’ve helped us define who we are and how we fit in.
Can a computer Predict a Hit Movie or Song? http://tinyurl.com/3g8ovfk If you mean profitability, yes. Fascinating use of neural networks.
This is a long, and not new, article that rambles through a fascinating story of how a lawyer, “Mr Pink”, “Mr Brown” and “Mr Bootstrap” collectively cracked the code for predicting the profitability of movies, TV shows and (separately) another team shows the likelihood of whether a song is going to be a hit.
The specifics of how they achieved both breakthroughs is interesting: have the computer software (usually some sort of neural net) analyze existing successes – music or movie. Â It then analyzes new music or movie proposals to determine whether it is likley be be a hit (music) or how much money it will make at the box office (movie).
Apple’s iOS facial recognition could lead to Kinect-like interaction http://tinyurl.com/448qlac
Back in 2010 Apple purchases Polar Rose and now it seems we’re seeing the first uses in a Framework for iOS users. Frameworks are code building blocks that allow developers to use advanced technology features without needing to understand how the technology works. Frameworks largely abstract the technology for the developer.
The HTML5 boom is coming. Fast. http://tinyurl.com/3w8xz3p Aided by Adobe Edge http://tinyurl.com/3djpdyn
After a slow start – and still controversy over exactly what format video will be supported in “HTML5” – is the Flash era finally over?
Colleen Taylor writing for GigOm discusses recent data on HTML5 and how Apple’s position on HTML5 and Flash has – as I predicted several years back – pushed the adoption of HTML5.
As is often the case in business, where there’s a winner, there’s usually a loser. HTML5 could largely replace Abobe’s proprietary Flash technology. And HTML5′s swift ascent could render Flash irrelevant in short order. “I think the disappearance of Flash is closer than people think,†ABI senior analyst Mark Beccue said in a press release accompanying the data.
HTML5′s projected growth is all the more impressive considering that the actual standard is not officially expected to be completed untilÂ
20202014, according to the World Wide Web Consortium (W3C) standards body. But that won’t stop companies and independent engineers from developing and deploying HTML5 features now, ABI said.
Full HTML5 interoperability isn’t expected until 2014 but we’re already a long way in, and will get further thanks to, somewhat ironically, Adobe. Â I’ve long advocated that Adobe were in the best position to create an HTML5 authoring tool, and indeed they have now shown one in Adobe Labs – Edge. AppleInsider has a first look at Edge.
[Update] One day later Flixmaster launched another HTML5 authoring tool
The responses to Final Cut Pro X a month Later. http://tinyurl.com/3wa8ahl
In this episode Terence and Philip discuss how the postproduction landscape has changed a month after Final Cut Pro X was revealed. How has the competition responded and how has the Final Cut Pro community has reacted. Lots of discussion on the launch and subsequent response to Final Cut Pro X, touching on every aspect of the release.
Why is there an emotional connection with creatives and their tools. Where do Final Cut Pro 7 users go? Who is really focused on NLEs in professional postproduction? Oh, and yes, Philip has new software for Final Cut Pro X (inspired by Terry in part).
World’s First Full Screen HTML Player (that’s customizable) http://tinyurl.com/3ofqlqz Any unique Flash feature done in “HTML5”
I’ve long had a preference for open standards over those from a single vendor, and so I like seeing formerly “Flash Only” features being replicated in ever-smarter ‘HTML5’ players.
Until now, the lack of true fullscreen playback has been the biggest limitation of HTML5 over Flash video. Safari already offered a basic fullscreen option for HTML5 video players, but this was via a non-customizable QuickTime view that didn’t allow the player to be branded or to feature custom controls.
For the first time since we demoed our player last year, we can finally enjoy SublimeVideo’s HTML5 controls in glorious fullscreen.
My DV Expo topics
9-5 September 20 Basic Tech for Producers (and recent Film School Graduates)
In this session, technology expert and DV magazine contributor Philip Hodgetts will cover the technological choices in production and post in a non-geeky way to help producers — and others without a technical background — make good technology choices for their productions. From formats to software choices; selecting cameras to creating Web video; designing graphics that will work and much more.  PRICE: $195 ($245 after Aug 31) Click here to register now.
9-5 September 21 Using Metadata For Production and Asset Management
Metadata is becoming increasingly important throughout the production cycle–from camera to asset management. In this session learn about the types of metadata in use; how each major NLE (Final Cut Pro 7, Final Cut Pro X, Premiere Pro CS 5.5 and Media Composer 5.5) handles metadata and how we can use that metadata to speed postproduction and VFX. Once post is done, assets need to be management through through distribution and repurposing. What tools are available, how are they used and how do they fit into the metadata structures promoted by SMPTE and other standards bodies. Â PRICE: $195 ($245 after Aug 31)Â Click here to register now.
9-5 September 22 Avoiding Postproduction Nightmares
Post expert and DV magazine contributor Philip Hodgetts details the most common (and costly) problems inadvertently created during production that will be “fixed in post.†From color correction to audio, and editing to the final QC pass on deliverables, he’ll not only reveal the tricks of the trade that he’d use to save your production, but also explain how you can avoid these costly issues in the first place. PRICE: $195 ($245 after Aug 31) | Click here to register now.
In the light of full disclosure, I certainly expect to be paid but I always deliver good value. There will be some overlap between the Basic Tech and Avoiding Postproduction Nightmares sessions as they both seek to make the technology understandable, but with a different focus to each day’s class.