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!
Only a few days ago I wrote about smart APIs that developers can use to enhance their apps. Today, John Hauer on TechCrunch postulates that he could not find one job that someday won’t be dehumanized.
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.
The Final Cut Pro X Creative Summit is on again in October this year.
Three days of cutting-edge training on the latest FCPX and Motion.
Hear directly from Apple Product Managers. Learn from top industry experts.
Apparently I slip in as an ‘industry expert’ with these sessions
10:30am Saturday Using Transcripts in FCPX
10:30am Sunday Production Kit in a Bag
Metadata is one of the most useful tools we have, if we have the tools to use it! Aside from the obvious problems when no metadata is gathered during the shoot, or insufficient metadata is gathered, other issues arise because there are not always tools in the production chain that use the metadata that has been gathered!
A recent student film was used as a template by the Entertainment Technology Center at USC with the purpose of realizing the long-hoped for promise of production metadata, with some fairly ambitious goals.
The results are interesting and important, particularly considering that this is what I would categorize as Technical metadata, rather than Content metadata.
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.
Although my focus is very much on metadata for production, and in particular Content Metadata, there’s a whole other area of metadata for distribution, built around the EIDR ID and fleshed out largely by Rovi. But there’s another area where metadata will likely have to apply: distribution deliverables.